assesment on the usage of ‘real’ fabric draping for … · special gratitude goes to my...
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ASSESMENT ON THE USAGE OF ‘REAL’ FABRIC DRAPING FOR
DESIGN IN PUBLIC INSTITUTIONS OF HIGHER LEARNING AND BY
FASHION DESIGNERS IN NAIROBI COUNTY, KENYA
By
ISIKA JULIET KAINDI (M.Sc.) H87/23028/2011
A THESIS SUBMITTED IN FULFILMENT OF REQUIREMENS FOR THE AWARD OF THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE
SCHOOL OF APPLIED HUMAN SCIENCES OF KENYATTA UNIVERSITY
NOVEMBER, 2014
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DECLARATION
This thesis is my original work and has not been presented for a degree in any other
university or any other award.
Signature _____________________ Date __________________
Juliet Kaindi Isika – (H87/23028/2011)
Department of Fashion Design and Marketing,
Kenyatta University,
Kenya.
SUPERVISORS
We confirm that the work reported in this thesis was carried out by the candidate under
our supervision.
Signature __________________________ Date ______________________
Prof. Keren G. Mburugu
Department of Fashion Design and Marketing
Kenyatta University
Signature _______________________ Date ______________________
Everlyn K. Nguku (PhD.)
Commercial Insects‟ Programme
International Centre for Insects Physiology and Ecology (Icipe)
Signature _______________________ Date _____________________
Prof. John A. Obere
School of Business and Economics
Maasai Mara University
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DEDICATION
In memory of my late Brother Maurice Mwendwa Isika for his unwavering love and
commitment towards his siblings. I am forever thankful for his endowment of my 1st
„electric sewing machine‟.
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ACKNOWLEDGEMENT
I am highly indebted and grateful to my university supervisors Prof. Keren G. Mburugu,
Dr. Everlyn K. Nguku and Prof. John A. Obere. Their scholarly guidance,
thoughtfulness and patience throughout this project is invaluable, may you have Gods
favor always. I appreciate the support from Kenyatta University and National
Commission of Science, Technology and Innovation (NACOSTI), without which this
study would not have been successful. I express my appreciation to the research
assistants, all Heads of departments, teachers, students and fashion designers who
facilitated in the filling out of the questionnaire and interview schedule.
Special gratitude goes to my supportive and loving husband Wycliffe Kivunira, for his
unlimited moral and financial support. Grateful towards our children Audrey, Jed and
Jaden for trying to understand the importance of Moms work. I am deeply appreciative
to my selfless parents Martin and Mary Isika for their prayers. To my siblings Michael,
Maureen and Angela: thank you for your unwavering encouragement and support. I am
indebted to my sister Susan for her personal sacrifice in my life. My heartfelt gratitude
goes to my colleges, friends and any other individual for their priceless support.
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TABLE OF CONTENTS
Declaration ................................................................................................................... II
Dedication .................................................................................................................. III
Acknowledgement ...................................................................................................... IV
Table of Contents ........................................................................................................ V
List of Tables .............................................................................................................. XI
List of Figures ........................................................................................................... XII
Abstract.. ................................................................................................................ XVII
Operational Definitions of Terms ........................................................................... XIII
Abbreviations and Acronyms ................................................................................ XVII
CHAPTER ONE: INTRODUCTION .......................................................................... 1
1.1. Background to the Study ....................................................................................... 1
1.2. Problem Statement ................................................................................................ 4
1.3. Purpose of the Study ............................................................................................. 6
1.4. Objectives of the Study ......................................................................................... 6
1.5. Null Hypotheses .................................................................................................... 6
1.6. Significance of the Study ...................................................................................... 7
1.7. Delimitation of the Study ...................................................................................... 8
1.8. Limitations of the Study ........................................................................................ 8
1.9. Assumptions of the Study ..................................................................................... 8
1.10. Theoretical Framework ....................................................................................... 9
1.11. Conceptual Framework ..................................................................................... 10
CHAPTER TWO: LITERATURE REVIEW ............................................................ 14
2.1. Fashion Design Techniques and Practices .......................................................... 14
2.2. Garment Design by Draping ............................................................................... 16
2.3. Skills in Training for Fashion Design Students .................................................. 19
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2.4. Attitude in the Learning Process by Teachers and Students ............................... 20
2.5. The Scenario of Fashion Design Learning in Kenya .......................................... 22
2.6. Constraints in Public Institutions of Higher of Learning in Kenya..................... 24
2.7. Learning Constraints in Practical Clothing Courses in Kenya ............................ 27
2.8. Fashion Draping for Design as a Profession ....................................................... 29
2.9. Summary of Literature Review ........................................................................... 33
CHAPTER THREE: METHODOLOGY .................................................................. 34
3.1. Research Design .................................................................................................. 34
3.2. Measurement of Variables .................................................................................. 34
3.3. Study Area ........................................................................................................... 35
3.4. Target Population ................................................................................................ 35
3.5. Sampling Technique ............................................................................................ 36
3.6. Sample Size ......................................................................................................... 37
3.7. Research Instruments .......................................................................................... 38
3.8. Pre-Testing of Research Instruments .................................................................. 39
3.9. Validity and Reliability ....................................................................................... 40
3.10. Data Collection Technique ................................................................................ 40
3.11. Data Analysis and Presentation ......................................................................... 41
3.12. Logistical and Ethical Considerations ............................................................... 43
CHAPTER FOUR: FINDINGS ................................................................................. 44
4.1. Introduction ......................................................................................................... 44
4.2. Characteristics of Fashion Design Students in Public Institutions of Higher
Learning ..................................................................................................................... 44
4.2.1. Students‟ Gender .............................................................................................. 44
4.2.2. Courses Fashion Design Students‟ are Studying.............................................. 45
4.2.3. Technical Subjects Studied at Secondary School ............................................ 45
4.3. Competencies of Fashion Design Teachers ........................................................ 46
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4.3.1. Teachers‟ Gender ............................................................................................. 46
4.3.2. Education Level of Fashion Design Teachers .................................................. 47
4.3.3. Teachers‟ Area of Training .............................................................................. 47
4.3.4. Type of Institution Teachers Received Training .............................................. 48
4.3.5. Region Fashion Design Teachers Received Training ...................................... 49
4.3.6. Number of Years Teaching Fashion Design Related Courses ......................... 49
4.3.7. Teachers‟ other Occupational Activities .......................................................... 49
4.4. Usage of „Real‟ Fabric Draping for Design in Public Institutions of Higher
Learning ..................................................................................................................... 50
4.4.1. Use of „Real‟ Fabric Draping for Design in Public Institutions of Higher
Learning ..................................................................................................................... 51
4.4.2. Teachers‟ Trained in „Real‟ Fabric Draping for Design .................................. 51
4.4.3. Constraints Faced by Students and Teachers in the Usage of „Real‟ Fabric
Draping ....................................................................................................................... 51
4.4.4. Source of Fashion Design Curriculum in Public Institutions of Higher Learning
.................................................................................................................................... 53
4.4.5. Curriculum Review Pattern in Public Institutions of Higher Learning ............ 54
4.4.6. Fashion Design Practices Used in Public Institution of Higher Learning........ 54
4.4.7. Pattern Development Techniques Taught to Fashion Design Students ........... 55
4.4.8. Mode of Teaching „Real‟ Fabric Draping as Prescribed in Curriculum .......... 56
4.5. Usage of „Real‟ Fabric Draping for Design by Practicing Fashion Designers ... 57
4.5.1. Garment Techniques Used to Realize Patterns or Design Concepts ................ 57
4.5.2. Personnel who Carries out „Real‟ Fabric Draping for Design ......................... 58
4.5.3. Mode Of Training In „Real‟ Fabric Draping .................................................... 58
4.5.4. Garment Categories Created Using „Real‟ Fabric Draping for Design ........... 58
4.5.5. Constraints Faced by Fashion Designers in The Usage of „Real‟ Fabric
Draping for Design ..................................................................................................... 59
4.5.6: Skill to be Improved Fashion Design Curriculum ........................................... 60
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4.6. The Availability of Learning Resources in Fashion Design Courses ................. 61
4.6.1. Availability of Human Resource in Public Institutions of Higher Learning.... 62
4.6.2. Availability of Physical Infrastructure to Fashion Design Students ................ 62
4.6.3. Availability of Learning Materials Used by Fashion Design Students ............ 62
4.6.4. Availability of Learning Equipment and Tools to Fashion Design Students ... 63
4.6.5. Conditions of Physical Infrastructure Used for Learning Fashion Design
Courses ....................................................................................................................... 63
4.7. Testing Null Hypothesis on Use of „Real‟ Fabric Draping for Design ............... 64
4.7.1. Ho1 Teachers‟ Area of Training is Independent of the Use of „Real‟ Fabric
Draping for Design in Public Institutions of Higher Learning................................... 64
4.7.2. Ho2 Source of Curriculum is Independent of the Use of „Real‟ Fabric Draping
for Design in Public Institutions of Higher Learning ................................................. 65
4.7.3. Ho3 Pattern Development Techniques Taught is Independent of the Use of
„Real‟ Fabric Draping for Design in Public Institutions of Higher Learning ............ 66
4.7.4. Ho4 Availability of Learning Resources is Independent of the Use of „Real‟
Fabric Draping for Design in Public Institutions of Higher Learning ....................... 67
4.7. 5. Ho5 Students‟ Attitude is Independent of the Use of „Real‟ Fabric Draping for
Design in Public Institutions of Higher Learning ...................................................... 68
CHAPTER FIVE: DISCUSSION .............................................................................. 70
5.1. Introduction ......................................................................................................... 70
5.2. Characteristics of Fashion Design Students in Public Institutions of Higher
Learning ..................................................................................................................... 70
5.3. Competencies and Characteristics of Fashion Design Teachers ......................... 71
5.4. Usage of „Real‟ Fabric Draping for Design in Public Institutions of Higher
Learning ..................................................................................................................... 73
5.5. Usage of „Real‟ Fabric Draping for Design by Practicing Fashion Designers ... 78
5.6. Influence of Learning Resources and Facilities on the Use of „Real‟ Fabric
Draping for Design ..................................................................................................... 79
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5.7. Pattern Development Techniques Taught is Independent of the Use of „Real‟
Fabric Draping for Design in Public Institutions of Higher Learning ....................... 80
5.8. Source of Curriculum is Independent of the Use of „Real‟ Fabric Draping for
Design in Public Institutions of Higher Learning ...................................................... 81
5.9. Teachers‟ Area of Training is Independent of the Use of „Real‟ Fabric Draping
For Design in Public Institutions of Higher Learning ................................................ 82
CHAPTER SIX: SUMMARY, CONCLUSIONS AND RECOMMENDATIONS .. 85
6.1. Summary of Main Findings ................................................................................ 85
6.2. Conclusions ......................................................................................................... 87
6.3. Recommendations for Policy and Practice.......................................................... 88
6.4. Recommendations for Further Research ............................................................. 89
7.0. References ........................................................................................................... 90
8.0. Appendices .......................................................................................................... 98
8.1. Appendix I; Participant Information and Consent Form ..................................... 98
8.2. Appendix II; Study Questionnaire for Fashion Design Teachers ....................... 99
8.3. Appendix III; Study Questionnaire for Fashion Design Students ..................... 101
8.4. Appendix IV; Semi Structured Interview Schedule for Fashion Designers...... 105
8.5. Appendix V; Public Institutions of Higher Learning in Kenya Offering Fashion
Design and Apparel Courses .................................................................................... 107
8.6. Appendix VI; Sample Size, Confidence Level and Confidence Intervals for
Random Samples ........................................................................................................... 110
8.7. Appendix VII; Random Numbers ..................................................................... 111
8.8. Appendix VIII; Table on Accessible Population .............................................. 112
8.9. Appendix IX; Table on Sample Size Selection ................................................. 113
8.10. Appendix X; Fashion Design Practices Used by Fashion Designers .............. 114
8.11. Appendix XI; Composite Results on Conditions of Infrastructure ................. 115
8.12. Appendix XII; Composite Results on Learning Resources ............................ 115
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8.13. Appendix XIII; Map of Public Institutions of Higher Learning Included in the
Study......................................................................................................................... 116
8.14. Appendix XIV; Research Permit from National Council for Science
Technology and Innovation ...................................................................................... 117
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LIST OF TABLES
Table 1.1: Issues to Consider when Investigating a Human Learning System .......... 10
Table 2.1: Fashion Design Practices that Utilize „Real‟ Fabric Draping ................... 15
Table 3.1 Measurement of Variables ......................................................................... 43
Table 4.1: Courses Fashion Design Students are Studying ........................................ 45
Table 4.2: Fashion Design Teachers‟ Education Level.............................................. 47
Table 4.3: Teachers Area of Training in Fashion Design .......................................... 48
Table 4.4: Number of Years Teaching Fashion Design Courses ............................... 49
Table 4.5: Constraints Experienced by Students and Teachers in the Usage of „Real‟
Fabric Draping for Design.......................................................................................... 52
Table 4.6: Type of Fashion Design Practices Used by Teachers ............................... 55
Table 4.7: Garment Techniques Used to Realize Patterns or Design Concepts ........ 57
Table 4.8: Garment Categories Created Using „Real‟ Fabric Draping for Design by
Fashion Designers ...................................................................................................... 59
Table 4.9: Constraints Experienced by Fashion Designers in the Usage of „Real‟
Fabric Draping for Design.......................................................................................... 60
Table 4.11: Availability of Learning Resources to Fashion Design Students ........... 61
Table 4.12: Chi-Square Analysis of the Teachers‟ Area of Training and Use of „Real‟
Fabric Draping for Design in Public Institutions of Higher Learning ....................... 65
Table 4.13: Chi-Square Analysis of the Source of Curriculum and Use uf „Real‟
Fabric Draping for Design in Public Institutions of Higher Learning ....................... 66
Table 4.14: Chi-Square Analysis of the Pattern Development Techniques Taught and
Use of „Real‟ Fabric Draping for Design in Public Institutions of Higher Learning . 67
Table 4.15: Chi-Square Analysis of the Availability of Learning Resources and Use
of „Real‟ Fabric Draping for Design in Public Institutions of Higher Learning ....... 68
Table 4.16: Chi-Square Analysis of the Students‟ Attitude and the Use of „Real‟
Fabric Drape for Design in Public Institutions of Higher Learning ........................... 69
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LIST OF FIGURES
Figure 1.1: Conceptual Framework Model Showing Interaction of Variables on the
Usage of „Real‟ Fabric Draping for Design ............................................................... 12
Figure 2.1: Pattern Development by „Real‟ Fabric Draping for Design .................... 18
Figure 2.2: Summer 2010 Trend Theme Draped ....................................................... 19
Figure 2.3: Garment Designs by Wambui Njogu Moocow ....................................... 30
Figure 2.4: The Monika Bead Dress Contemporary African Jewellery by Patricia
Mbela of Poisa ............................................................................................................ 31
Figure 2.5: Kooroo Designs by „Real‟ Fabric Draping .............................................. 32
Figure 2.6: Dinka Collection by „Real‟ Fabric Draping for Design by Mwendwa
Katungulu ................................................................................................................... 32
Figure 4.1: Technical Subjects Studied at Secondary School .................................... 46
Figure 4.2: Institutions Teachers Received Fashion Design Training ....................... 48
Figure 4.3: Teachers‟ other Occupational Activities ................................................. 50
Figure 4.4: Teachers‟ Trained in „Real‟ Fabric Draping for Design .......................... 51
Figure 4.5: Sources of Fashion Design Curriculum in Public Institutions of Higher
Learning ..................................................................................................................... 53
Figure 4.6: Curriculum Review Pattern in Fashion Design Courses ......................... 54
Figure 4.7: Pattern Development Techniques Taught to Fashion Design Students ... 56
Figure 4.8: Mode of Teaching „Real‟ Fabric Draping for Design as Prescribed in
Curriculum ................................................................................................................. 57
Figure 4.9: Mode of Training in „Real‟ Fabric Draping for Design by Fashion
Designers .................................................................................................................... 58
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ABSTRACT
„Real‟ fabric draping involves use of sample textile, fabric or cloth to make patterns or garments on a model or dress form stands manually. Final material used to produce garments has similar characteristic to one used to drape. Technique is suitable for ready to wear and couture garment designs with numerous advantages. These are such as satisfaction with garment fit, accurate proportions of fabric division and reduced time waste as pattern making technique. Numerous studies in Kenya have been carried out to investigate Home science. However, there is limited ongoing research or documentation on „real‟ fabric draping for design in Kenya. These demands for a study to assess the usage in „real‟ fabric draping for design in public institutions of higher learning and fashion designers in Nairobi County, Kenya. Specific objectives included: Identifying competencies of fashion design teachers, determine the usage of „real‟ fabric draping for design in public institutions of higher learning and among fashion designers, establish the influence of learning resources. Determine the relationship between use of „real‟ fabric draping for design and teachers‟ area of training, source of curriculum, garment categories created, pattern development taught and student‟s attitude. The study was guided by the Activity theory and pedagogic activity system structure. A cross-sectional survey research design was employed. Five public institutions of higher learning were purposively selected in Nairobi County namely: Kenyatta University, Technical University of Kenya, Kenya Technical Teachers College, Kenya Textile Training Institute and Nairobi Technical Training Institute. The sample size comprised of five heads of department, 32 teachers, 266 students and 30 fashion designers. The data was collected using questionnaires and interview schedules. Both qualitative and quantitative data analyses were used. The results revealed that very few public institutions of higher learning using „real‟ fabric draping for design. Majority of the teachers (respondents) in this study were not trained in the area of fashion design. Most of the fashion designers used „real‟ fabric draping for design and recommended all fashion design students to be taught. The absence of body forms, draping manuals posed a challenge learning „real‟ fabric draping for design. Chi-square results yielded a fairly strong relationship between use of „real‟ fabric draping for design and pattern development technique taught (V= 0 .646; p < 0.0001*), sources of curriculum (V= 0.623; p < 0.0001*). Use of „real‟ fabric draping for design had a weak association with teachers‟ area of training (V = 0. 018; p < 0.006. It was concluded that pattern development technique taught, sources of curriculum and teachers‟ area of training are issues associated with the use of „real‟ fabric draping for design in public institutions of higher learning. On the contrary availability of learning resources and students‟ attitude were issues not associated with the use of „real‟ fabric draping for design. It was recommended that a need assessment research should be carried out in institutions teaching fashion design courses. This would establish the technological gaps in fashion design curricula in Kenya hence would reduce the inconsistency in skills acquisition.
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OPERATIONAL DEFINITIONS OF TERMS
This section provides definition of terms as they have been used in this study.
Academic background – this is the educational history of an individual with regards to
formal training and certificates attained. This was obtained by asking the respondents to
indicate the highest level of academic qualification attained.
Attitude – this is a person‟s mind –set. It is perceived to be closely linked to beliefs,
perception and motivation that shape ones behavior towards learning. Statement related
to use of „real‟ fabric draping for design bearing positive and negative value were used
as indicators in a five gradation Likert scale.
Fashion design practices - this is the sequence of techniques applied in the creating
garments for humans. The teachers were asked to tick among the practices listed which
ones they utilized when teaching fashion design courses in public institutions of higher
Learning.
Fashion design student – this is an individual undertaking training in apparel design or
clothing technology in a public institution of higher learning with the aim of attaining a
certificate and proficiency in fashion design.
Fashion design teacher – this is an educator or lecturer in apparel design or clothing
technology in public institutions of higher learning imparting knowledge to create
different apparel styles.
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Fashion designer – this is an individual who holds an official document (certificate) in
fashion design or clothing production and is actively involved in production of different
types of garments and accessories for the clients.
Fashion design course – this is specialized learning related to aspects of garment
making procedures to prepare the learners for entry into an occupation. In this study this
is refered to as training, retraining or upgrading of skills at public institution of higher
learning at diploma, higher diploma or degree level.
Learning resources – is the investment needed for knowledge acquisition by learners.
They include human and physical resources related to the learning capital investments
indicators. Equipment, tools and materials learners use were itemized as indicators in a
five point - continuum Likert scale.
Learning conditions – these are the actual surroundings and learning atmosphere of the
fashion design students in public institution of higher learning. They included lighting,
ventilation, furniture and blackboard/ flip chart.
Public Institutions of higher learning – are organizations run by the government that
offer individuals an opportunity to study beyond the level of secondary education. This
comprised of universities, institutes of technology, technical training institutes and
teacher-training colleges that offer apparel design or clothing technology education. The
students attain degrees or diplomas at end of the prescribed course of study.
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‘Real’ fabric draping – involves use of sample material or cloth used to make patterns
or garments with similar characteristic to the final material that will used to produce the
actual garments. Technique is suitable for ready to wear and couture garment designs.
‘Real’ fabric draping for design – technique used to make patterns or garments on a
dress form. The process involves positioning and pinning fabric on a dress form by
smoothing, contouring and manipulation to create the garment design structure or
pattern.
Semi couture – this is apparel design that allows customers to obtain semi-fitted apparel
at lower cost than couture designs done for an exclusively upper end and luxury fashion.
Usage of ‘real’ fabric draping for design – this is the practice of draping fabric on a
dressmakers body form to produce patterns or garments by novice or professional
fashion designers. The respondents were asked to indicate if they used or did not use
„real‟ fabric draping for design
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ABBREVIATIONS AND ACRONYMS
AFAD Association of Fashion Designers
CAD Computer Aided Design
CHE Commission of Higher Learning
CUE Commission of University Education
GOK Government of Kenya
JAB Joint Admissions Board
KCSE Kenya Certificate of Secondary Education
KICD Kenya Institute of Curriculum Development
KIE Kenya Institute of Education
KNBS Kenya National Bureau of Statistics
KPUC Kenya Polytechnic University College
KTTC Kenya Technical Teachers College
KTTI Kenya Textile Training Institute
KU Kenyatta University
MOYAS Ministry of Youth and Sports
MPET Master Plan of Education and Training
NACOSTI National Commission of Science Technology and Innovation
NITA National Industrial Training Authority
NTTI Nairobi Technical Training Institute
SPSS Statistical Package for Social Sciences
TIVET Technical Industrial, Vocational and Entrepreneurship Training
UNIDO United Nations Industrial Development Organization
USA United States of America
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CHAPTER ONE: INTRODUCTION
1.1. Background to the Study
Throughout human history fashion and textiles have been enormously important, so
have their materials, production tools and techniques, social significance and cultural
influences. Fashion design is an artistic and functional industry that helps to clothe
people while incorporating style. Fashion design goes beyond just a designer thinking of
a garment, sketching it and then sewing it together. There are three techniques used
between the design concept phases (when the design sketch is made) and the
construction or sewing of the garment. These are flat pattern making, draping design and
CAD technique (Pierce, 2010).
Clothing as any covering used for the human body. The wearing of clothing is
exclusively a human characteristic and is a feature of most human societies. Vanderhoff
(1981), states that the amount and type of clothing worn depends on functional
considerations and social considerations. There are three basic ways clothes are made
that classify garments into draped or fitted clothes and those that are a combination of
the two methods. Draped clothes have luscious fabric looped and laid in places you
require it to camouflage abdomen imperfections, draped dramatically to show one‟s
décolletage or side-swept to pull away the eye from areas beyond our control.
According to Webster's New World College Dictionary (2010), draping is a transitive
verb meaning to cover, hang, or decorate with cloth or clothes in loose folds or to
arrange (a garment, cloth, etc.) artistically in folds or hangings. Designers (2011)
documents that, fashion draping is an important part of fashion design. Draping for
fashion design is the process of positioning and pinning fabric on a dress form to
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develop the structure of a garment design. A garment can be draped using a design
sketch as a basis, or a fashion designer can play with the way fabric falls to create new
designs at the start of the apparel design process. After draping, the fabric is removed
from the dress form and used to create the sewing pattern for the garment. This clearly
depicts that draping requires a certain set of skills. Not all good designers can drape
well, as such fashion designers therefore need to be trained in this art.
Cultural traditions are very important in style of clothing. Fashion designers are inspired
by many cultures around the world and this is reflected in the clothing styles they
generate for their consumers. Although draping is often associated with ancient times
and places, it is heavily used in more modern fashion. A drape effect will appear in
evening gowns, skirts, dresses, shirts or even shoes. Chiffons, satins and silks are quite
frequently utilized in drape-style clothing. For example, in the 2010 collections,
contemporary designers such Haider Arkerman, Alexandra McQueens and Dries Van
Noten used fabric draping for design proving that this age-old art can be re-explored
infinitely. This is solid proof that different aspects of cultural traditions such as „real‟
fabric draping for design should be incorporated into modern day dress. Many of the
modern garments have through the years reflected the characteristics of the first draped
garments. It is possible to see true draping of ancient times or designs which appear to
be draped, in ponchos, caftans, capes, saris or sarongs.
Ministry of State for Planning, National Development and Vision 2030 (Government of
Kenya, 2010), documents that working age population is defined as 15-64 years of age
are 19.7 million or about 51 percent of the population as per 2009 population Census.
However due to high levels of unemployment, most of them have not been absorbed in
the job market (MOYAS, 2011). The government further observes that there exists a
3
mismatch between demand and supply in the labour market. Problems in education and
training where many youth are failed by limited access to the relevance of the education
system may be solved by adapting vocational and technical training system suitable to
labor market and create links between training institutes and industry (Munavu, Ogutu
and Wasanga, 2008). This literature brings to light challenges facing the youth in the
education system in Kenya.
Kang'a (1994), found that with the rush and eagerness to get white collar jobs, Home
Science and other technical subjects lost the emphasis they had during the colonial
times. Therefore, by 1970 unemployment was becoming a great problem in Kenya.
There was a call by educationists to include industrial skills in the curriculum so that
learners could become self – reliant on leaving school. However, for a long time Home
Science could be pursued at the University only if one wanted to be a Home Science
teacher and singling out Clothing and Textile.
Over the past decades, the number of students enrolled at various levels of education in
institutions of higher learning has substantially increased. This has not been the case in
clothing design or textile related courses. Curriculum development and articulation in
these courses is therefore vital. Munavu et al. (2008) noted that whereas the curriculum
development process at the Kenya Institute of Curriculum Development (KICD)
involves most stakeholders including higher learning institutions, the curriculum in
universities is developed by individual universities. Serem (2010), recognized that
problems associated with the learning and teaching can be detrimental to any subject.
Problems may be due to an environment which is not conducive, the amount of time
given against the topics and practical to be covered, lack of learning materials, and
4
unclear usefulness of the unit. This literature highlights the observable facts in practical
subjects and will be investigated in this study.
Kavilu (1990), Karimi (1992), Racho (2000) and Telewa (2004), studies reveal that the
major constraints faced by Home Science teachers include: inadequate teaching
resources, limited time allocated for teaching Home Science, no induction course, wide
curriculum (scope) and large classes. Kang‟a (1994), further noted that teachers lacked
relevant training in the teaching and assessment of practical sessions. This could have a
negative impact in learning and examining of practical courses such as „real‟ fabric
draping. The Home Science students on the other hand according to Kang'a (1994), were
facing major constraints that include: inadequate teaching resources, large classes,
limited time and facilities. Kobia (1991), documents that boys were not aware of the
future careers in Home Science.
The documented literature shows tendencies that could negatively impact fashion design
courses as a practical oriented course. This research observes that institutions of higher
learning that teach fashion design and practicing fashion designers in Kenya use various
garment design techniques. Many issues may influence the use of „real‟ fabric draping
for design and were therefore investigated in this study.
1.2. Problem Statement
In today‟s fast, inter-related and versatile economy, employers are looking for
productive employees who are quick, creative, flexible and up-to-date in new
technology. Employees with these qualities can keep up with changing systems and
techniques in the workplace (World Bank, 1999). These observations include
technology: production tools and techniques taught and used within the apparel industry.
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Dumridhammaporn, Jatuphatwarodom, Punyopat, Chonsakorn (2012), found that „real‟
fabric draping for design had advantages such as satisfaction with garment fit, accurate
proportions of fabric division and reduced time waste as pattern making technique.
However, until recently, little of practical use has been published on the art of draping
beyond introductions of the basics, leaving the craft to become a skill passed on from
master to apprentice, just like tailoring (Lindqvist, 2013). Many contemporary designers
such as Alexandra McQueen‟s in his 2010 collections used „real‟ fabric draping for
design proving that an age-old art can be re-explored infinitely.
The clothing and textile industry is a field which is under-researched and under-
represented academically (Boulanger, 2003). Moreover, it appears there is limited
ongoing research on „real‟ fabric draping for design, recording or preservation in the
world. In Kenya, there is inadequate documentation, literature and research done in the
area of „real‟ fabric draping for design and its use. Very scanty literature directly related
to learning „real‟ fabric draping for design is available. This is mainly because hardly
has any research been done with regard to the use of „real‟ fabric draping for design in
the current 8-4-4 system of education. The study therefore filled these gaps.
The changes call for investigation on the use of „real‟ fabric draping for design as a basic
pattern making or fashionable pattern making in any styles in fashion design courses and
among fashion designers in Kenya. The study therefore filled this gap in research and
information in this area. The findings have been used to form basis to argue for the case
of „real‟ fabric in public institutions of higher learning and fashion designers in Nairobi
County.
6
1.3. Purpose of the Study
The purpose of this study was to assess the use of „real‟ fabric draping for design in
public institutions of higher learning and among fashion designers in Nairobi County.
1.4. Objectives of the Study
The study addressed the following specific objectives:
1. Identify competencies of fashion design teachers in public institutions of higher
learning.
2. Determine the usage of „real‟ fabric draping for design in public institutions of higher
learning.
3. Determine the usage of „real‟ fabric draping for design among fashion designers.
4. Establish the influence of learning resources and facilities on the use of „real‟ fabric
draping for design.
5. Assess the relationship between use of „real‟ fabric draping for design and teachers‟
area of training, source of curriculum, garment categories created and pattern
development techniques taught.
6. Evaluate the relationship between the students‟ attitude and the use of „real‟ fabric
draping for design in public institutions of higher learning.
1.5. Null Hypotheses
The study tested the following hypotheses:
1. HO1 Teachers‟ area of training is independent of the use of „real‟ fabric draping for
design in public institutions of higher learning.
2. HO2 Source of curriculum is independent of the use of „real‟ fabric draping for
design in public institutions of higher learning
7
3. HO3 Pattern development techniques taught is independent of the use of „real‟ fabric
draping for design in public institutions of higher learning.
4. HO4 Availability of learning resources and facilities is independent of the use of
„real‟ fabric draping for design in public institutions of higher learning.
5. HO5 Students‟ attitude is independent of the use of „real‟ fabric draping for design in
public institutions of higher learning.
1.6. Significance of the Study
An instruction booklet on “Training Guidelines on „Real‟ Fabric Draping for Design”
will be development. This will add to the limited inventory of literature available for
fashion design students. It was hoped it will be used as a teaching aid and act as
reference material for all trainers and trainees in the fashion design industry.
The study contributes to the existing field knowledge of fashion design by
documentation of „real‟ fabric draping for design. It will also highlight any concerns or
issues that may jeopardize the use of „real‟ fabric draping for design. It also generated
useful information for the fashion institutions on resources that are relevant for „real‟
fabric draping to be implemented. Therefore the results from the study can be used for
decision making with regards to the phenomenon under study.
The training workshops scheduled for fashion design students will increase the students‟
knowledge on „real‟ fabric draping for design. The interaction with professional fashion
designers who use the technique may generate more interest in „real‟ fabric draping for
design. Thus, venturing into „real‟ fabric draping for design may result in less fit and
creative design for consumers.
8
The findings of this study are expected to act as base line data, for other related
researches in the area of fashion design. The findings are expected to contribute to the
existing field of knowledge in fashion design. Information gathered from this study will
be communicated to the Ministry of Higher Learning Science and Technology for
implementation.
1.7. Delimitation of the Study
The study was confined to assessing issues related to the use of „real‟ fabric draping for
design in public institutions of higher learning and among fashion designers within
Nairobi County.
1.8. Limitations of the Study
1. There were methodological limitation since fashion apparel trends change very
rapidly and students have a fixed period within which they must complete the learning
process.
2. The findings of this study were confined to investigating those respondents who were
involved in the practice or training in apparel design as information sought was unique
to the apparel, garment or clothing design development.
3. Due to financial and time constraints limitations the study was only carried out in
Nairobi County.
1.9. Assumptions of the Study
This study was based on the following assumptions:
9
1. The study assumed that the selected institutions of higher learning have teachers and
students who learn aspects of „real‟ fabric draping for design and would provide the
information required.
2. The fashion designers in Nairobi County were assumed to be utilizing „real‟ fabric
draping for design in pattern development or garment design.
1.10. Theoretical Framework
The study was based on the Activity Theory developed by Kaptelinin, Kuutti & Bannon
(1995). The major theme of Vygotsky‟s theoretical framework is that social interaction
plays a fundamental role in the development of cognition (UNESCO, 2002). The
pedagogic activity system structure by Robertson (2008) was used to explain the usage
of „real‟ fabric draping for design in public institutions of higher learning and among
fashion designers. The Activity Theory is more of a descriptive framework than a
predictive theory. It considers an entire activity system by groups and institutions
involved beyond just one user. It accounts for the environment, history of the person,
culture, role of the artifact, motivations and complexity of real life action (Kaptelinin,
et.al., 1995).
According to Serem (2010), problems associated with the learning and teaching can be
detrimental to any subject. The theory was therefore used to account for the various
elements in the pedagogic activity system such as: teachers‟ competencies, learning
resources and conditions, student‟s attitude, source of curriculum and pattern making
techniques among others. The proposed theory was useful in examining contradictions in
the research to assess the usage of „real‟ fabric draping for design in public institutions
of higher learning and among fashion designers.
10
1.11. Conceptual Framework
According to Jochems et.al. (2004), the activity theory provides a common word list to
describe the pedagogic perspectives in terms of subjects, tools, object and outcome,
rules, community and division of labour. Mwanza & Engestrom (2003), indicated that a
single activity system provides an opportunity to identify tensions and contradictions
within it and listed eight questions that need to be addressed when investigating an
activity system (Table 1.1).
Table 1.1: Issues to consider when investigating a human learning system
(Source: Mwanza & Engestrom, 2003)
Based on the activity theory, an operational model (Figure: 1.1) was conceptualized for
the study by adopting constructs of the human activity system (Table 1.1). The structure
of the pedagogical Activity System was modified to conceptualize how students and
teachers use „real‟ fabric draping for design in public institutions of higher learning and
also among fashion designers. The pedagogic activity system represented those with the
responsibility for teaching and learning and would desire an outcome in use of „real‟
Activity What sort of activity would I be interested in investigating?
Objective Why is the activity taking place?
Subjects Who is involved in carrying out the activity
Tools By what means are the subjects performing the activity?
Rules and regulations
Are there any cultural norms, rules or regulations governing the performance of the activity?
Division of labour
Who are responsible for what, when carrying out an activity and how are those roles organized?
Community What is the environment in which this activity is being carried out?
Outcomes What is the desired outcome from carrying out this activity?
11
fabric draping for design. It captured the fundamentals in the activity system necessary
for the successful learning in „real‟ fabric draping for design. This creates an opportunity
for constraints experienced to be resolved or addressed.
12
Figure 1.1: Conceptual framework model showing interaction of variables on the usage
of „real‟ fabric draping for design
Source: Modified from the pedagogic activity system (Robertson, 2008) and Human Activity System (Engestrom, 2001)
OUTCOME
„Real‟ fabric
draping
sustainability
TOOLS (Means) - Source of curriculum - Learning/teaching resources - Fashion design teaching staff
RULES (pedagogical) - Curriculum goals - Mode of learning - Pattern making taught -Fashion design practices
COMMUNITY (environment) - Types of Fashion design courses - Teachers competencies - Students‟ attitude - Learning Conditions
SUBJECTS -Teachers - Students
- Fashion designers
DIVISION OF EFFORT - Teachers and teaching - Students and learning - Influence by fashion designers
OUTCOME Usage of „real‟ fabric draping for design
FASHION DESIGN LEARNING (Experience, Knowledge
Products)
13
In this study some of the constructs were modified to suit the scope of fashion design
learning. This is due to the fact that fashion designers as employers may influence the
learning process. A wide range of issues impact the pedagogic activity i.e. fashion
design learning in order to achieve an outcome. In fashion design learning its necessary
to fulfill certain objectives and meet the goal of community i.e. fashion designers,
teachers and students obtain experiences, knowledge and garment designs in the use of
„real‟ fabric draping for design. The environment in which learning occurs is vital for the
learning in the system to occur. The teachers‟ competencies, students‟ attitudes towards
course and learning condition need to be investigated. This would give an indication of
what kind of environment learning is taking place.
Tools such as learning/teaching resources, curriculum and fashion design teaching staff
used by subjects. They engage in teaching and learning to achieve an outcome in „real‟
fabric draping. Fashion designers engage in curriculum development, offer employment
or act as guest tutors and may manipulate what is taught or how it is taught. The rules
deployed involve fulfilling curriculum outcomes such as mode of learning, pattern
making taught and fashion design practices. Tacit rules are the dispositions of teacher
competencies and vocational disciplines (fashion design practice) and mode of teaching
the learner. There is potential for use of „real‟ fabric for design in learning when the
objects of the human learning activity systems come into contact. These different issues
involved in the use of „real‟ fabric draping for design were therefore assessed. Therefore,
the Activity Theory and Pedagogic Activity structure constitute the various aspects in
the fashion design learning. Therefore, they could assist in understanding the use of
„real‟ fabric draping for design in public institutions of higher learning and among
fashion designers in Kenya.
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CHAPTER TWO: LITERATURE REVIEW
2.1. Fashion Design Techniques and Practices
Internationally, famous fashion designers create original products using inspiration from
various historical and contemporary sources. Many apparel designers develop new
products of various types in accordance with the trends set by the leading international
designers (Friggs, 2008). Style is one of the most important aspects in garment design.
Fashion design involves the designer thinking of a garment, sketching it and then sewing
it together. There are three techniques core to realization of the design concept and
finally construction of the garment design. These methods are flat pattern making,
draping design and CAD technique (Pierce, 2010). According to Stanley (1991), modern
students of dress design and pattern making have one fervent wish which is to translate
their designs as speedily as possible into finished garments. This desire is further fuelled
by the fashion design industry with large turnover of styles every year. The prospective
fashion designer must be artistically creative and understand technical aspects design.
Fashion design is highly competitive and the more prepared the aspiring designers are,
they broaden their opportunities.
Friggs (2008), documented that draping is done by cutting and shaping the muslin or
garment fabric on a dress forms to create a pattern. The designer sees the proportions
and lines of the design exactly as they will look on a human like figure (body form).
Draping is ideal for soft, flowing designs. The method is mainly used for producing
couture dresses and evening wear. In flat pattern design however, basic patterns of
bodices, sleeves, pants, or skirts are draped or drafted. The flat pattern method uses
angles, rulers and curves to change existing board patterns. In computer aided design
systems have small graphic patterns that are manipulated on the computer screen by the
15
pattern maker. The use of geometry drivers makes infinite number of changes to the
shapes and sizes of the patterns. The large quantity of styles produced in the fashion
industry demands from today‟s designer and pattern cutter a great degree of versatility
and knowledge of pattern making (Stanley, 1991). Kamau (2012), found that fashion
design students felt that the training they received in apparel CAD did not prepare them
adequately to undertake CAD-related jobs in the apparel industry.
Pierce (2010), noted that pattern making, draping design and CAD techniques are critical
to the fashion designer's concept being made into a garment. Each of these techniques
serves the purpose of creating a style pattern that can be used to construct the designer's
concept. It is important to remember that without using one of these techniques, it is
almost impossible for a new fashion design concept to be made into a wearable garment.
Friggs (2008), noted that a good pattern maker must learn how to drape a pattern on a
dress form, draft perfect flat patterns and create patterns by computer. This is because
their first job placement may be as a sample cutter or pattern grader. Rissanen (2005),
documented eight fashion design practices (Appendix X), three of which utilized „real‟
fabric draping for design (Table 2.1).
Table 2.1: Fashion design practices that utilize „real‟ fabric draping
Dumridhammaporn, et.al. (2012), found several advantages of using „real‟ fabric
draping. The first was that pattern making by draping technique reduced time waste as
Sketch – Draping – Pattern –Toile – (Design alteration) – Pattern alteration - Sample garment
Draping – Pattern –Toile – (Design alteration) – Pattern alteration - Sample garment
Textile print on paper – Draping Textile/paper on bodyform – (Sketch) - Pattern – Toile – (Design alteration) – Pattern alteration – Sample
16
pattern making technique. Secondly, draping was more accurate in getting the right
proportion to the cloth design than flat pattern making technique. Thirdly, patterns made
on the mannequin while working on the task (3 dimensions) could be clearly seen by the
pattern makers and corrected immediately within one time. Lastly, result collected by
surveying the models‟ satisfaction indicated that they preferred the samples made from
draping pattern making to flat pattern making techniques. Based on the arguments of the
reviewed literature, there is need to establish the use of „real‟ fabric draping for design
by fashion design students and designers given the above listed advantages and the
feeling of incompetence.
2.2. Garment Design by Draping
Vanderhoff (1981), states that basic ways in which clothes are made classify them into
draped, fitted clothes and those that are a combination of the two methods. Draped
clothes have luscious fabric looped and laid in places. One requires it to camouflage
imperfections, draped dramatically to show one‟s décolletage or side-swept to pull away
the eye from areas beyond our control. Drapery is best done on a live body or a dress
form, which certainly was available to the 1880's dressmakers. Advertisements for dress
forms made of wire (some of them folded up like an umbrella) were common and
persuasive by the late 1880‟s. Draping in fabric on the dress form is a method used to
create three dimensional models that will ultimately be developed into a collection of
finished sample garments (mostly in muslin).
Until recently, little of practical use has been published on the art of draping beyond
introductions of the basics, leaving the craft to become a skill passed on from master to
apprentice, just like tailoring (Lindqvist, 2013). Draping requires the use of a dress form
and cheap fabric that closely resembles the fabric of the finished garment. Fashion
17
designing using the draping technique is the smoothing, contouring and manipulation of
fabric on a dress form to create a garment or pattern (Pierce, 2010). When designing
garments by draping, a fashion designer will loosely hangs the material over and around
a dress form. Bias tape may be used to guide the draping fabric to the intended design.
The advantage of garment design by draping is that the designer sees how the design
will look on the body before it is made up. The designers will first mark the seams and
style seams. Then drape using cheap draping fabric that resembles the actual fabric to be
used during construction. The garment pieces are then cut from the fabric to create a
cloth pattern for sewing the final garment. Fashion designers who are skilled drapers
create designs on the dress form in the final fabric and construct it as they drape.
Draping, being one of the oldest methods used to generate patterns was investigated and
documented in this study.
Pierce (2010), documents that draping has been a key component in fashion design for
centuries. In fact, it's probably most closely associated with ancient times, and more
specifically ancient Greece and ancient Rome. The toga is probably draping most
popular example of the style. Although draping is often associated with ancient times
and places, draping is heavily used in more modern fashion. Several designers may use
similar fashion design ideas because they have been inspired by a common source. The
trend may appear in a new unique fabrication, silhouette, or design element that appears
in multiple collections (Friggs, 2008). Draped garments could be one-piece garments
such as kangas, loincloths, togas, kilts, saris and sarongs. Figure 2.1, illustrates the use
of „real‟ fabric draping for pattern making. Yang and Yu (2002), pointed out that short
product life cycle, powerful customer demands, and knowledge management were the
keys to developing new products. There is need to establish whether fashion design
students are imparted with knowledge in „real‟ fabric draping for design to be enable
18
them meet customer demands or be innovative. Moreover, draping skills are acquired
with patience and practice over a period of time (Crawford, 1989).
Figure 2.1: Pattern development by „real‟ fabric draping for design
Source: www.thedreamstress.com
Kirke (1998), states that draping can also be a way of exploring the potential of a fabric
on the body; therefore it can initiate the design idea. For example, Madeleine Vionnet , a
French designer of the twentieth century developed garment design ideas exclusively
through draping on a half-scale mannequin. Anicet, Cunha & Broega (2012),
documented that draping technique also referred as moulage, opens a vast field of
possibilities in the creation of new products giving room to total innovation and
differentiation of patterns. The advantages can be even more significant if this technique
is applied to the development of customized and differentiated female clothing products.
19
Figure 2.2 shows one of fashion‟s best design trends to enter. The current style scene is
characterized by elements of draping, an ancient design tool of design being
incorporated into modern style (Ikissa, 2010).
Figure 2.2: Summer 2010 Trend theme draped
Source: Art of Draping: Posted by Louise Ikissa in Fashion News Jan 24th
2010
2.3. Skills in Training for Fashion Design Students
Essential matters for apparel designers are the ability to apply materials and professional
training. These traits in a fashion designer can be achieved through professional training.
It is evident therefore that specialized techniques are crucial for an outstanding apparel
designer. Production time and sewing skills are seen as being of more relevance to
production and not the key skills for an apparel designer. Based on these arguments, this
study seeks to establish whether fashion design students and teachers and fashion
designers learn new concepts and skills. Therefore for one to be successful in the field of
designing one must continuously learn.
20
The skills in training for fashion and textiles students should lead to employability and
job creation for its graduates (Kamau, Wamutitu & Mbugua, 2013). Apparel design
courses are increasingly offered at different institutions of higher learning in Kenya. The
lowest grade is artisan level examined by the National Industrial training Authority
(NITA) craft and diploma examined by the Kenya National Examination Council
(KNEC) and Bachelors‟ degree, master‟s level and doctorate degrees offered by the
universities (Kamau, 2012). These institutions offer courses in apparel design for those
who qualify with secondary or post-secondary education. National Polytechnics,
Institutes of Technology and Technical Training Institutes also admit trainees for apparel
design courses. According to Utz (2006), there are four pillars of a knowledge economy,
towards which a country can align educational strategy. The education pillar denotes that
an educated workforce should be developed that can use knowledge effectively. The
innovation pillar should ensure that global knowledge diffuses into the nations and
adapts it for local use and creates new local knowledge. The study established whether
skills taught in the public institutions of higher learning have been strategically planned
to lead to economic benefits locally by creating employment.
2.4. Attitude in the Learning Process by Teachers and Students
Hussain (2004), noted that education is conceived as a powerful agent, instrumental in
bringing about the desired changes in the social and cultural life of a nation. The whole
process of education is shaped and molded by the human personality called the teacher,
who plays a pivotal role in any system of education. The preparation of any teachers‟
functionary must conceivably get the highest priority. Teachers are expected to use the
best practices and strategies to meet constraints and demands of their career. Educators
therefore have a duty to prepare students so that they are familiar with the technologies
they will encounter at the work set up. Teachers‟ beliefs and assumptions about the
21
nature of knowledge, disciplinary norms, and how students learn affect the choice and
use of technology for teaching (Gibbs & Gosper, 2006). Skill Fast UK (2006) , study on
skill needs assessment for apparel sector found that, in Northern Ireland a gap existed in
core technical skills and knowledge amongst designers and garment technologists due to
changes in technology and lack of investment in staff training. According to MOEST
(2004) there is low morale among the technical teachers and curriculum developers.
There is lack of staff development opportunities for curriculum implementers. If the
teachers are well trained and highly motivated, learning will be enhanced.
Davide (2001), documents that teaching profession demands clear set goals, love for
profession and obviously a more favorable attitude towards the profession. A teacher‟s
job is to provide the students with information, example and guidance that they need to
build understanding on their own. Ideally, they would recognize how this is done and
will be able to carry it on later in their lives after they have left college. Muthui (1981),
argues that Clothing and Textiles curriculum lacks clearly defined objectives so that the
performance standards demanded for coursework are too high although it is allocated too
few marks in relation to the work and time involved. According to Workman (2011),
the student attitudes on learning determine their ability and willingness to learn. If
negative attitudes are not altered, a student is unlikely to continue his education beyond
what is required.
According to GOK (2002), there is no feedback from the employees to training
institutions leading to a supply driven training skewed in favor of technologists. The
technical graduates lack hands on experience and have poor work attitude and are
inflexible to change. The GOK (1998) education report, advocated for a new paradigm
that will address flexibility innovations and productivity. The report advocated for
22
acquisition of required skills addressing the implications or changing labour market.
Koech (1999) further argues that the perception of technical and vocational education
and training being of less value than other occupations persists to this day in Kenya
because individuals with technical and vocational education and training (TIVET)
qualifications tend to earn less than others with the same length of training at
comparable levels. Based on the reviewed literature, it is clear that psychological factors,
interaction between students and teachers can be detrimental to the learning processes.
The curriculum objective in teaching „real‟ fabric draping for design was also
investigated.
2.5. The Scenario of Fashion Design Learning in Kenya
Human capital is acquired in many different ways, but it is largely acquired through
formal education. Studies have shown that labor productivity is dependent on the level
of education and or training by an individual (ESAURP, 1993). Higher education
institutions have the main responsibility for training a country‟s professional personnel
including technicians. Such institutions create knowledge through research and advanced
training and serve as a conduct for its transfer, adaptation and dissemination (MOEST,
2004).
Education is obviously central to development of any people and its nation. The
provision of education and training to all Kenyans is fundamental to Governments
overall development strategy (GOK, 2004). The education and training sector is
expected to play a key role in enhancing labour productivity and improving the skills of
those in production. Although a diversity of technology is used in Kenya‟s apparel
industry, little documentation has been done. It is therefore difficult to identify the level
of technology or technical requirements in the industry (ILO, 2000). This is especially so
23
for the labour intensive industries such as the fashion and design. GOK (1998),
documents that the most obvious manifestation of the mismatch between formal learning
in institution and economic opportunities in society is the large number of graduates of
the education and training system who have not been able to find employment in the
formal sector of the economy.
The government has observed that there exists a mismatch between demand and supply
in the labour market. If the economy fails to provide jobs and other income-generating
opportunities at a rate equal to (or higher than) young people coming into the
employment market; i.e. supply must meet the demand of employment. If no
employment (or learning and training) opportunities are created, youth is likely to drift
into crime, and anti-social behavior including violence, alcoholism and drug abuse
(GOK, 2010). Githagui and Francis (2005) pointed out that, Kenya has a relatively low
labour force participation rates both for young people aged 15 to 24 and adults aged 25
to 54. According to Kinuthia (2010), keeping abreast with the recent technology
translates to ready response to constant fashion changes as the industry is characterized
by uncertainty. The fashion designers may find it difficult to anticipate opportunities that
can be strategically exploited due to fast technological changes. This scenario is
perpetuated by training structures that are deficient, hence unable to adequately prepare
learners for a dynamic or changing labour market.
The Kenya Vision 2030, First Medium Term Plan 2008-2012 identified human resource
development as a critical foundation for national social and economic transformation
(GOK, 2007). However El-Namaki (1998) indicates that, higher education has
demonstrated considerable insufficiency because post-secondary institutions have strong
bias towards law, social sciences and other art subjects. Kenya has also a high number
24
of graduates with arts and science degrees who lack professional training (Anami, 2013).
In addition, gaps exist in training with few universities offering training in apparel CAD
technology training. Inadequate teaching and learning resources and bureaucratic
procedures in the universities hinder effective implementation of education policies in
Kenya therefore affecting implementation of apparel CAD technology in training
(Kamau, 2012). Serem (2010) argues that problems associated with the learning and
teaching can be detrimental to any subject. Problems may be due to an environment
which is not conducive, the amount of time given against the topics and practical to be
covered, lack of learning materials, and unclear usefulness of the unit.
Moreover, it is not possible to determine the level of skills in fashion design courses as
the country‟s last manpower survey was conducted in 1986-88. Consequently, there is
no standardized definition, occupational title, skills and competencies they are expected
to learn from the institutions of higher education. This review of literature brings to light
the complex scenario of the public institutions of higher learning offering fashion design
courses. There is need to fill the gap in generating data and literature on technology
offered in training of fashion designers in Kenya.
2.6. Constraints in Public Institutions of Higher of Learning in Kenya
Kenya National Bureau of Statistics (2009), noted that the high rate of population
growth has adverse effects on spending in infrastructure, health, education, environment,
water and other social and economic sectors. The higher education institutions however
develop the future workforce that can effectively participate in the increasingly
networked world and the emerging knowledge economy which cannot be ignored (Utz,
2006). Knowledge and technological progress have become more important to the
realization of economic prosperity within an integrated world economy (UNIDO, 2002).
25
However since 1994, the government of Kenya decreased the education budget from 37
percent of its total annual recurrent budget to about 30 percent stating that it was not
possible to allocate additional funding to higher education (Kiamba, 2004). Moreover,
despite such a seemingly huge budgetary allocation to education the amount allocated to
curriculum development is still poorly funded (KIE, 2006). Most of the funding in the
education sector goes for recurrent expenses for research and development (Otunga &
Nyandusi, 2009). At the university level, access to technical and science based courses is
hampered by lack of infrastructure according to Kamau (2012). These trends demand for
an investigation into learning resources in fashion design courses as they are technical in
nature. Furthermore they rely on monies dispensed by the Kenyan government. The
results would communicate any inconsistency in resource allocation for „real‟ fabric
draping.
Salinger (2006), noted that curriculum content is created by a process of resolving
tensions, academic disciplines, technological and economic change and the different
agendas of the government, employers and labor organization. Munavu et al. (2008)
points out that, whereas the curriculum development process at the Kenya Institute of
Curriculum Development (KICD) involves most stakeholders including higher
education institutions, the curriculum in universities is developed by individual
universities. There is however an urgent need for formal collaborations between
curriculum researchers in institutions of research and higher education and KICD
(Otunga & Nyandusi,2009).
According to Fullan (1991), the implementation of curriculum innovation is bound to be
unsuccessful if teachers are not involved in the entire process of curriculum
development. This leaves curriculum development by some institutions of higher
26
education in the hands of government sectors as KICD. However it does not have
mandate over technical personnel or examination of the curriculum they develop.
Muchangi (2011), documented that inadequate in-service training of lecturers as the
main challenge facing implementation of curriculum. According to Nyandusi (2001),
employers are dissatisfied with the preparedness of school graduates for the world of
work. The employers further indicated a strong willingness for participating in
curriculum development, but they haven‟t been involved.
Mulama (2006), observes that the Kenyan government statistics show that 90% of
unemployed youth lack relevant skills. The lack of skills maybe due to certain youth
polytechnics are still using outdated syllabus of 1974 and are staffed by untrained
personnel. This means that the content of the curriculum has a great bearing on career
choice and graduate abilities in meeting future employment restrictions. The curriculum
implementers are yet to embrace modern methods of teaching. There is more theoretical
teaching at the expense of practical skills teaching due to lack of tools, equipment and
materials for practical training. There is very little inspection of curriculum
implementation at different level (MOEST, 2004).
According to Kamau (2012), apparel design education has received attention in the
recent years mainly due to numerous changes in the job market. There is need to have
professionals to work in apparel industries or set up fashion businesses to cater for the
dynamic market. However, an explicit human resources development direction for the
apparel industry is not clear, although post-secondary institutions have been established
to address the issue of labour requirement (Wiese, 1975). Based on these arguments the
study sought to identify the source of curriculum, personnel involved in curriculum
development, mode of teaching, availability of learning resources and infrastructure in
27
public institutions of higher learning offering fashion design courses. Therefore, the
study will fill a gap in literature as review done on institutions of higher learning did not
focus on the unique nature of fashion design as a practical course.
2.7. Learning Constraints in Practical Clothing Courses in Kenya
In Kenya a policy started to emerge in the mid-sixties leading to the launching of the 8-
4-4 system in 1985 with the objective of increasing the scope of vocational subjects in
the school system at all levels (Sifuna, 1990). The 8-4-4 education system has been
found to be somewhat inefficient in providing relevant skills needed for national
development (World Bank, 1999). Home Science is practical subject, it‟s useful in
laying a foundation for further learning and vocational training cannot be over looked
(Karimi, 1992). However, a study carried out in Uasin Gishu found that between 2005
and 2006 the number of schools that presented candidates for Home Science during
Kenya Certificate of Secondary Education (KCSE) dropped from 23 to18 schools.
Moreover half of them had enrolled 1-10 candidates each (Oilebe, 2001).
Nyangi (1992), reports that the student enrolment in Home Science subject is not
consistent while the trend is on the decline. GOK(1998), further noted that under
enrolment in key post secondary courses maybe a predicament to practical courses.
Mumbi (1991), identified technical subjects students studied at secondary school before
taking up training in clothing and textile as a practical subject are very vital. The study
further discovered that students enrolled in colleges lacked sound Home Science
background which hinders effective training as primary Home Science teachers. This
study would identify the technical subject a student learned at secondary school before
taking up fashion design course.
28
Kang'a (1994), noted that with the rush and eagerness to get white collar jobs, Home
Science and other technical subjects lost the emphasis they had during the colonial
times. Therefore, by 1970 unemployment was becoming a great problem in Kenya.
There was a call for educationist to include industrial skills in the curriculum so that
learners could become self – reliant on leaving school. Students however also disliked
Clothing and Textile unit (Sang, 2002). According to Nyangi (1992), majority of
students (85.7%) taking Home Science in Nairobi found Clothing and Textiles to be
difficult to learn. Kang'a (1994), further reveals that clothing and textile is the least liked
subject in the 8-4-4 education system. Serem (2010), Nyangi (1992) and Kobia (1991)
ascertain that teachers and students respectively have positive attitude towards Clothing
and Textiles. The attitude of students towards „real‟ fabric draping for design as practical
aspect in fashion design was determined as it may be jeopardize learning.
Home Science according to Karimi (1992), was mainly taught by demonstrations and
discussions and ignored the other methods of teaching. This observation justifies Sang‟s,
(2002) study that reported that not all Home Science teachers are confident in handling
the clothing and textiles and may influence the attitude of the students. Mumbi (1991),
concurs that the teaching methods frequently used were the teacher-centered methods
like lecture, assignment and demonstrations. Student-centered methods like guest-
speakers, seminars and visits were rarely used. Tutors were not given induction courses
on joining the colleges and were not in serviced in methodology of teaching Home
Science to teacher trainees.
According to Kang‟a (1994), Home Science teachers also lacked relevant training in the
teaching and assessment of practical sessions. The Home Science students were faced by
major constraints such as: inadequate teaching resources, large classes, limited time and
29
facilities. Telewa (2004), study reveals that the major constraints faced by Home Science
teachers include: inadequate teaching resources, limited time allocated for teaching
Home Science, no induction course, wide curriculum (scope) and large classes. Kobia
(1991), reported that boys are not aware of the future careers in Home Science.
Review of research on learning constraints experienced in practical clothing courses did
not focus on constraints faced by fashion design students and teachers undertaking
fashion design courses. Therefore, this study investigated learning constraints in fashion
design courses therefore bridging the gap in fashion design as a practical course.
2.8. Fashion Draping for Design as a Profession
Think magazine (2010), stated that range of contemporary Indian designers‟ looks
eastward to the rich cultural heritage. Pattern making has become an expertise of
assembling and juxtaposing diverse wrapping with reference to traditional Hindu garb
and sari silhouettes. Designer Gaurav Gupta feels that fabric is an extension, a form that
can be abandoned in elements in his work. His design philosophy merges Indian
traditions with the draping techniques which make his design aesthetically relevant
today. The designer‟s roots in craft making garments with faultless lines and careful
detailing are very handy therefore developing India‟s finest cashmere. The Kenyan
designers may have to look at the traditional dress and denote techniques used to wear
them and depict what would appeal to them in the present day.
Majtenyi (2010), documents that more than 20 designers have come up with their own
labels, which are beginning to be recognized locally and internationally and more and
more designers are entering the industry. The interview further noted that Kenya has
some distinctive fabrics, notably the plaid or striped shukas, lessos, khangas and the
30
kikoy. One of Kenyans‟ renowned designers Wambui Njogu of MOOCOW indicated
that they were typically used as shawls or wraps rather than as material to make
garments. One of her outfits incorporates a long leather apron similar to that worn by the
Turkana people of northern Kenya (Figure 2.3).
Figure 2.3: Garment designs by Wambui Njogu MOOCOW
Source: Cathy Majtenyi, VOA (2010)
The young designer‟s approach to pattern making is three dimensional like a sculptor to
his creation. Equipped with a sketch or illustration before them, they can work directly
on the dress form, modeling and pinning the various sections together on the dress form
to achieve the desired effect (Stanley, 1991). This literature is evidenced by a
preliminary survey carried out by the researcher in August 2010. It showed that a
number of renowned successful designers in Nairobi use „real‟ fabric draping: POISA -
Patricia Mbela (Figure 2.3), Peon glamour, KOOROO (Figure 2.4), Katungulu
Mwendwa (Figure 2.5), Betty Vennetti, Samantha Waireri and Occasions and Days
(Monica Kanari) fashion houses. Kamau, et.al. (2013), argues that skills training in
31
fashion and textiles should lead to employability and job creation for its graduates.
Studies on fashion designers‟ profile (Bio data), practices or constraints in Kenya have
not received much attention. The study sought therefore to establish if fashion designers
are trained in „real‟ fabric draping, how they utilize the technique and consequently
dynamics associated with its implementation.
Figure 2.4: The MONIKA bead dress contemporary African jewellery by Patricia Mbela
of POISA
Source: mbelahttp://www.shuga.co.ke.
32
Figure 2.5: KOOROO Designs by „real‟ fabric draping
Source: http://malindi.afrileo.com
Figure 2.6: Dinka collection by „real‟ fabric draping for design by Mwendwa Katungulu
Source: http://www.tdsblog.com.
33
2.9. Summary of Literature Review
The documented literature in this study addressed the key issues relating to fashion and
clothing design courses in public institutions of higher learning. Dynamics determining
the use of „real‟ draping design for design and learning attitude of the students were also
addressed. Based on the literature reviewed it is noted that techniques used in fashion
design courses especially „real‟ fabric draping for design has not been given any
attention. Rust, Mottram, & Till (2007), explains that it‟s important that research in
fashion design be embedded in the specific practice that characterizes fashion design.
It is evident that „real‟ fabric draping as a technique in garment design would be of great
importance to fashion design students and fashion designers. Scholars such as Serem
(2010), argues that problems associated with the learning and teaching can be
detrimental to any subject. Mulama (2006), further observes that the Kenyan
government statistics show that 90% of unemployed youth lack relevant skills.
According to Kamau (2012), apparel design education has received attention in the
recent years mainly due to numerous changes in the job market. On the contrary
however, no research has focused on use of „real‟ draping for design and issues that may
influence its exploitation in institutions of higher learning or by fashion designers.
Fashion designers must keep abreast with the recent techniques and technological
advancement to translate to immediate response to constant fashion changes. This would
ensure they anticipate opportunities that can be strategically exploited hence be
employable and satisfy customer needs in garment design. This study assessed the usage
of „real‟ fabric draping for design and issues that may control, its use in public
institutions of higher learning and among fashion designers. The study was therefore
able to fill the gap in the body of knowledge regarding issues affecting its exploitation.
34
CHAPTER THREE: METHODOLOGY
3.1. Research Design
A cross-sectional descriptive survey aimed at assessing the usage of „real‟ fabric draping
for design in the public institutions of higher learning and among fashion designers in
Nairobi County, Kenya. Mugenda (2008), indicated that cross- sectional studies help the
researcher to establish whether significant associations among variables exist at some
point in time.
3.2. Measurement of Variables
The use of „real‟ fabric draping for design was the dependent variable. It was
dichotomous and measured by dummy – coding for membership in the category by
asking the respondent to tick Yes (if they used „real‟ fabric draping for design) = 1 or No
= 0 (if otherwise). The independent variables of the study were demographic
characteristics of the students and teachers, fashion design practices, learning resources,
learning conditions and student‟s attitude. The independent variables were categorical in
nature and were measured by close ended and open ended items and Likert scales. The
demographic characteristics were gender, education level, area of training and technical
subject studied at secondary school. The respondents were asked to tick from the list
given which fashion design practices they utilized when teaching fashion design. Close
ended items were used and the respondents were asked to tick from the list given.
The availability of learning resources, learning conditions and student‟s attitude were
measured by use of a five point Likert scale. The students‟ attitude was measured by
constructing positive and negative statements related to students‟ attitude, respondents
then ticked against each response on the Likert score. The availability of learning
resources was measured by listing items needed to be taught „real‟ fabric draping for
35
design. The students were asked to tick against each item on the Likert scale. Items
related to learning conditions were generated from literature and respondents were asked
to tick against each item on the Likert scale.
3.3. Study Area
The study was carried out in Nairobi County in Kenya which is cosmopolitan. The
Kenya National Bureau of Statistics (2009), National Census showed Nairobi has the
largest urban population of 3,138,369 persons with 1,605 230 being male and 1,533, 139
females. It is the hub of fashion and holds a large number of fashion designers making
ready to wear garments by using various garment design techniques. Nairobi has a
poverty rate of 22.5% and ranks number two Country wide based on Kenya County Fact
Sheet (World Bank, 2006). This population may have a considerable percentage of
money to spend on fashionable clothing as there is existence of a robust middle class.
This customer base has seen the Nairobi city become a hub of fashion trends and holds
numerous calendar fashion design events for ready to wear designs for their customers.
There are five public institutions of higher learning in Nairobi county offering fashion
design and clothing design related courses (Appendix V). The County was chosen as it
had the highest variation in types of institution offering fashion design related courses.
These were the University of Technology, University, Textile Training Institutes,
National Industrial Training Authority, National Youth Training Polytechnic and the
National Technical Teachers College.
3.4. Target Population
Higher education includes Universities; technical education includes Institutes of
Technology and Technical Institutes and Universities of Technology (Ministry of
Education, 2012). The target population was all heads of departments, teachers and
36
students taking fashion design related courses in public institutions of higher learning in
Nairobi County. According to a preliminary survey census carried out in July, 2011 by
the researcher, there were 44 institutions of higher learning offering fashion design
courses in Kenya (Appendix V). These institutions were incorporated into the due to
their similarity in guidelines such as source of curriculum, human resource deployment
and source of funding. All practicing fashion designers who were formally trained were
also targeted. The fashion designers were chosen because they may be practicing „real‟
fabric draping.
3.5. Sampling Technique
Five public institutions of higher learning were purposively included in the study. They
included: one Public University, one University of Technology, one National Technical
Teachers College, one Technical Training Institute and one Textile Training Institute in
Nairobi County. Kombo and Tromp (2009), describes purposive homogenous sampling
as the picking up of a small sample with similar characteristics to describe some
particular subgroup. Purposive sampling would ensure that institutions included in the
study are run by the government and have been offering fashion design or garment
design courses. Stratified simple random sampling was used to proportionately stratify
the students according to the type of institution, course and year of study to be
qualifying them into the strata. However first years were not included into the study as
they were deemed not to have sufficient data (Appendix XIII).
The accessible population was five heads of department, 32 fashion design teachers, 244
fashion design students and 30 fashion designers (Appendix IX). The fashion designers,
teachers and students undertaking their masters‟, bachelors and diploma courses were
sampled as they were deemed to give information that would assist in determining the
37
use of „real‟ fabric draping for design in public institutions of higher learning and
fashion designers in Nairobi County. Mugenda (2008), states that in stratified random
sampling a sample is drawn from each of these strata and its main objective is to
increase precision. Snowballing was used to select fashion designers to participate in the
study. Orodho (2009), documents that the researcher should focus on a section of
respondents based on the basis of participants referred.
3.6. Sample size
A sampling frame of public institutions of higher learning that offer fashion design
courses was generated by the researcher (Appendix V). Five public institutions of
higher learning were purposively selected in Nairobi County namely: Kenyatta
University, Technical University of Kenya, Kenya Technical Teachers College, Kenya
Textile Training Institute and the Nairobi Technical Training Institute. These institutions
are accredited by the Ministry of Higher Education Science and Technology (MoHEST)
or Commission of University Education (CUE) to offer training.
A table on sample size, confidence level and confidence intervals for random samples
(Appendix V), was used to determine a sample size of 244 students from an accessible
population of 266 students for the study. A table of random numbers (Appendix VI) was
used to randomly draw the sample proportionately from each stratum at 0.05 confidence
level and confidence interval of three. The student‟s class attendance registers were
used as sampling frames. The number of students from each subgroup was used to
determine the sample size and was based on the initial size of the sub-group. A census of
all the 32 teachers and the five heads of department were selected to participate in the
study as the sample size was too small.
38
Snowballing was used to select 30 practicing fashion designers to participate in the
study. This was to ensure that any fashion designer who is formally trained in garment
or apparel design was included in the study sample. Additionally, in Kenya there is no
data base for fashion designers. The Association of Fashion Designers (AFAD) was used
as base for snowballing. The designers may be using „real‟ fabric draping for design for
semi couture (high-end, made-to-measure and made-to-order) and ready-to-wear. They
would therefore give useful information for this study. The final sample size excluded 22
students, two teachers and one head of department and four fashion designers who had
participated in the pretesting of the questionnaire and interview schedule.
3.7. Research Instruments
The instruments used for data collection were self-administered questionnaires for the
fashion design teachers and students (Appendix II and III). Orodho (2005), states that a
self-administered questionnaire is ideal for collecting data because participants
individually record and interpret options. The self-administered questionnaires
developed had structured and unstructured items on the usage of „real‟ fabric draping,
demographic data, type of fashion design practices, attitude of students, learning
resources and conditions of the respondents.
A Likert scale with a five point- continuum ranging from „strongly agree‟ to „strongly
disagree‟ was used to rank intangible components in the research. The respondents
selected brief statements relating to attitude and types of fashion practices used. The
respondents were also asked to rate whether the human and physical resources were
„Always‟ to „Never‟ availability in the public institutions of higher learning purposively
selected. The items used to rate attitude were positively and negatively worded
39
statements. These items were later reverse scored so that the higher responses on the
Likert would represent the same scale to reduce response bias during data analysis.
The semi-structured interview guide assisted in obtaining information on fashion design
practices, garments produced and opinion on „real‟ fabric draping for design by the
fashion designers (Appendix IV). An interview guide allows the subjects to clarify the
responses, explain their opinion ask the interviewer questions. The structured items were
used during data analysis as the study was mostly quantitative in nature. The
unstructured items used to support emerging themes in the statistical results obtained.
The content of the items included in the questionnaire and interview schedule were
determined according to experience and experts‟ opinions from the field of education
and fashion design.
3.8. Pre-testing of Research Instruments
The questionnaire was pre-tested on 22 students, two teachers and one head of
department at the Rift Valley Institute of Technology. The interview guide was pre-
tested on 4 fashion designers who were not included in the study. Pre-testing was done
to ensure items in the data collection tools were clearly understood and interpreted by
the respondents i.e. items bear same meaning to all respondents. It was also done to
estimate time needed to administer the data collection tools. Feedback from the pretest
was used by the researcher and specialist from the field to revise some of the items and
eliminate those deemed to be redundant. This improved the reliability and validity of the
instruments would ensure the instruments can be filled out in good time and give
information on the usage of „real‟ fabric draping for design.
40
3.9. Validity and Reliability
Validity is the degree to which a test measures what it purports to measure to be
measuring (Orodho, 2009). The items in the questionnaires and interview schedule for
the study sample were corrected and invalid responses rejected. Through a pretest,
feedback was provided and modifications done by experts in fashion design and
education on items developed. In case of bias and inconsistency in the interpretation of
questions the instrument were restructured accordingly to ensure content validity. This
would ensure the responses are sufficient in meeting the objectives of the study and to
eliminate ambiguous items.
Reliability indicates the accuracy and precision of an instrument (Radhakrishna, 2007).
The reliability of the questionnaire was measured using Cronbach‟s Alpha correlation
coefficient to determine internal consistency (Cronbach, 1951). According to Santos
(1999), the Cronbach‟s Alpha coefficient maybe used to describe reliability of factors
from multi-point formulated questionnaires or scales. He further points out that though
the most commonly acceptable alpha is 0.700 and above, lower thresholds up to 0.500
can be used based on diversity of constructs under study. The reliability coefficient
adopted for the study was < 0.609 for teachers‟ questionnaire and < .711 for the
students‟ questionnaire. The high coefficient indicates highly correlated items among
themselves (Orodho,2009). These coefficients were deemed significant as the instrument
(two questionnaires) were being used for the first time.
3.10. Data Collection Technique
A research permit was sought from National Commission for Science Technology and
Innovation (NACOSTI). Five research assistants with bachelors‟ degree in fashion
design were recruited from the researchers‟ social network. The research assistants were
41
trained on how to conduct themselves when introducing, distributing and collecting the
questionnaires and interview schedule. They informed the respondents on the
importance of study to ensure they understood the instruments and the mode of
administration. The research instrument was personally delivered to respondents. An
informed consent form was obtained from the respondents and only those who agreed to
participate in the research were involved. The self-administered questionnaires were
filled out by the heads of department, fashion design teachers and students. The
interview schedule was filled out by the fashion designers with the help of the research
assistance. The instruments were filled out and returned within the same day to ensure a
high response rate.
3.11. Data Analysis and Presentation
Data collected were summarized and analyzed statistically to address the objectives and
hypothesis of the study using the Statistical Software Package for Social Sciences (SPSS
Version 17). The quantitative data were analyzed to give both descriptive and inferential
statistics. The descriptive statistics such as frequencies, percentages generated were used
to summarize the data obtained.
The Chi-square test for independence (X2) was used to determine if two categorical
variables with less than 5 rankings were related. Chi-square was used to assess whether
the association seen between the variables in a particular sample is likely to represent an
actual relationship between those variables in the population. Mugenda (2008), indicated
that cross sectional studies cannot be used to determine cause and effects between
variables although relationships may exist. Chi-square test of independence statistics
was used to test the hypothesis at an alpha of 0.05. Hypothesis 1, 2, 3, 4 and 5 were
tested to determine the relationship between the independent variables: source of
42
curriculum, teacher‟s area of training and pattern development techniques availability of
learning resources and students‟ attitude and the dependent variables i.e. use of „real‟
fabric draping. The study variables and the statistical tests applied to analyze the data are
given in Table 3.1.
The Nominal measure of correlation used was Phi Ø and Cramer‟s V (V) to measure
degree measure association between variables. The nature of the data from the Chi-
square statistics dictated the method used. Results for possible values with exact possible
values (2x2) Phi Ø was used, whereas those that were unequal (2x3) Cramer‟s V (V) was
deployed. The obtained values range from zero (representing lack of association) to one
(representing strong association). Quantitative data from the structured part of the
interview schedule was analyzed using frequencies. The Qualitative data from the
unstructured part of the interview schedule were compared and grouped according to
similarities in order to develop categories. These data was later used to supplement,
explain and interpret qualitative data. The summary and presentation of the data
collected was done in form of tables, bar graphs and pie charts. Qualitative data was
used to discuss the emerging themes and help elaborate various findings of the data.
43
Table 3.1 Measurement of variables
3.12. Logistical and Ethical Considerations
Kenyatta University provided a letter of introduction to the student for NACOSTI. A
research permit was obtained from the NACOSTI to ensure that the research regulations
and guidelines are adhered to before commencement of data collection period.
Permission was sought from the Heads of department in the institutions selected to take
part in the study. An introduction letter from the researcher was attached to each data
collection instrument to seek for consent from each respondent (Appendix I).
Identification numbers instead of names were used for anonymity and ensure
confidentiality of the information gathered.
Independent Variable Dependent Variable Statistical Test
Teachers competencies
Frequencies and Percentages
Usage of „real‟ fabric draping for design in Public institutions of higher learning
Usage of „real‟ fabric draping for design by Fashion designers
Fashion design practices
Availability Learning resources
Conditions of Infrastructure Teachers‟ area of training Use of „real‟ fabric
draping x
2 (Chi- square test
of independence ) Source of curriculum Use of „real‟ fabric
draping x
2 (Chi- square test
of independence) Pattern development techniques taught Use of „real‟ fabric
draping x
2 (Chi- square test
of independence) Availability of learning resources Use of „real‟ fabric
draping x
2 (Chi- square test
of independence) Students‟ attitude Use of „real‟ fabric
draping x
2 (Chi- square test
of independence)
44
CHAPTER FOUR: FINDINGS
4.1. Introduction
This chapter contains findings on the students characteristics, competencies and
characteristics of fashion design teachers, garment design practices, learning conditions,
learning resources, student‟s attitude and usage of „real‟ fabric draping for design. These
were covered under each objective and hypothesis. This chapter outlines the descriptive
statistics for the independent variables. The relationship between source of curriculum,
teacher‟s area of training, pattern development techniques, learning resources, garment
categories and students‟ attitude and use of „real‟ fabric draping for design were tested to
measure the hypothesis. The results from the open ended questions in the questionnaire
and unstructured items from the interview schedule were used to support the qualitative
data.
4.2. Characteristics of Fashion Design Students in Public Institutions of Higher
Learning
The character of the fashion design students‟ in this study was important as they defined
the uniqueness of the respondents. The characteristics included were gender, education
level and technical subjects studied at secondary. However these items were not used
for hypothesis testing.
4.2.1. Students’ Gender
The study sought to examine the gender of the fashion design students in public
institutions of higher learning in Nairobi County. Eighty four percent (84.0%) of the
students were female with the rest being male.
45
4.2.2. Courses Fashion Design Students’ are Studying
Fifty nine percent (58.7%) of students were either undertaking a certificate or diploma
course in fashion design (Table 4.1).
Table 4.1: Courses fashion design students are studying
4.2.3. Technical Subjects Studied at Secondary School
The study sought to establish technical subjects studied at secondary school. The results
show that fifty four percent (54.0%) of the students sampled had undertaken Home
science (Figure 4.1). This may perhaps denote that students who studied Home Science
chose the course as they may have felt they would do well. Moreover, it is one of the
entry subject required to study the course.
The remaining groups of students had undertaken art and design, technical drawing or
computers. However, some had not studied any technical course at secondary school
level. Most of the students though indicated they chose the course by themselves
because of various reasons: „passion for fashion‟, „good at designing or making clothes‟
or „I will get employed or self-employed‟.
Education Level Frequency (n)
Percentage Cumulative Percent
Certificate 25 11.5 11.5
Higher Diploma and Diploma 103 47.2 58.7
Bachelors 83 38.1 96.8
Masters 7 3.2 100.0
Total 218 100.0 100.0
46
Figure 4.1: Technical subjects studied at secondary school
4.3. Competencies of Fashion Design Teachers
The teachers‟ competencies in fashion design in this study are important as they define
the disposition of the respondents. Additionally they may influence the use of „real‟
fabric draping for design in public institution of higher learning. The data obtained in
gender, education level, other occupational activity, number of years teaching and
institution teachers received training in fashion design were important but was not used
in hypothesis testing. The teachers‟ area of training was also explored for possible
relationships with the usage of „real‟ fabric draping for design.
4.3.1. Teachers’ Gender
Figure 4.3 shows that ninety three percent (93.0 %) of the fashion design teachers were
female, while seven percent (7.0 %) were male. This implies that customarily fashion
design is viewed as a female – oriented career and this is reflected in the high number of
the females than males.
47
4.3.2. Education Level of Fashion Design Teachers
Fifty six percent (55.6%) of the fashion design teachers had attained either Bachelors
degree, Masters or PhD. (Table 4.2). This points out to fashion design teachers
advancing in their academic qualifications.
Table 4.2: Fashion design teachers‟ education level
4.3.3. Teachers’ Area of Training
The study sought to find out the areas of training of the teachers to qualify them to teach
fashion design in the various public institution of higher learning. Eighty five percent
(85.2%) of them were trained in the areas of clothing / garment design or textile design
with the rest about fifteen percent (14.8%) being trained in Art and design (Table 4.3).
Notably though, none of the teachers has been trained in fashion design as a course.
This implies that the government employed qualified personell to teach the fashion
design students in public institutions of higher learning.
Education level Frequency (n)
Percentage Cumulative Percent
PhD. 2 7.4 7.4 Master‟s degree 7 25.9 33.3
Bachelor‟s degree 6 22.3 55.6
Higher Diploma 7 25.9 81.4
Diploma 5 18.5 100.0
Total 27 100.0 100.0
48
Table 4.3: Teachers area of training in fashion design
4.3.4. Type of Institution Teachers Received Training
Figure 4.2 shows that, nearly forty eight percent (48.1%) of the fashion design teachers
were trained in public universities in Kenya. These institutions are known to have
teaching that heavily leans on theory rather than practical‟s. However, twenty two
percent (22.2%) of the respondents indicated they had attained diploma or higher
diploma then advanced to do a degree at the University.
Figure 4.2: Institutions teachers received fashion design training
Areas of training Frequency (n)
Percentage Cumulative Percent
Garment design 13 48.2 48.2
Clothing and textile design 10 37.0 85.2
Art and design 4 14.8 100.0
Total 27 100.0 100.0
49
This means that some teachers may have lacked hands on training as they were trained
mainly on theoretical aspects unlike the rest who may have been exposed to more hands
on training in fashion design.
4.3.5. Region Fashion Design Teachers Received Training
Seventy one percent (71.4%) of the fashion design teachers who teach in Kenyan public
institutions of higher learning were formally trained locally in Kenya. The rest 28.6 %
were formally trained outside Kenya. This may imply that despite the teachers being
trained in different institutions locally inbreeding was predominant.
4.3.6. Number of Years Teaching Fashion Design Related Courses
The results in Table 4.4 indicate that eighty five percent (85. 2 %) of the teachers‟ had
taught fashion design related courses for a period of between 6 to >16 years. This might
mean that fashion design teachers were highly experienced in their teaching subjects as
they have been instructing students for a relatively long period of time.
Table 4.4: Number of years teaching fashion design courses
4.3.7. Teachers’ other Occupational Activities
The highest number of fashion design; fifty nine percent (59.3%) did not engage in any
other occupational activity other than teaching (Figure 4.3). They indicated
administrative duties such as coordinating teaching of curriculum and handling various
Number of years Frequency (n)
Percentage Cumulative percentage
>16yrs 5 18.6 18.6 11-15yrs 8 29.6 48.2 6-10yrs 10 37.0 85.2
1-5 yrs 4 14.8 100.0
TOTAL 27 100 100.0
50
duties administrative was very involving. This finding might imply that the remaining
percentages of teachers were involved in either generating knowledge or generating
income. They may have been exposed to new knowledge as they were involved in
garment making, soft furnishing businesses or research and consultancy in their fields of
expertise.
Figure 4.3: Teachers‟ other occupational activities
4.4. Usage of ‘Real’ Fabric Draping for Design in Public Institutions of Higher
Learning
The usage of „real‟ fabric draping for design entailed the practice, procedure and
tendencies carried out by the students and teachers in public institutions who learn
fashion design. The study assessed the use of „real‟ fabric draping for design, source of
curriculum, curriculum review pattern, fashion design and pattern development
techniques used, mode of teaching and challenge experienced.
51
4.4.1. Use of ‘Real’ Fabric Draping for Design in Public Institutions of Higher
Learning
The study sought to assess the use of „real‟ fabric draping for design in public
institutions of higher learning in Nairobi County. Seventy five percent (75.0 %) of the
institutions did not use „real‟ fabric draping for design. This might signify that the public
institutions of higher learning offering fashion design courses may not have had control
over the usage „real‟ fabric draping.
4.4.2. Teachers’ Trained in ‘Real’ Fabric Draping for Design
Results in Figure 4.4 shows that about seventy four percent (74.0%) of the teachers had
never been trained in „real‟ fabric for design whereas the rest were trained.
Figure 4.4: Teachers‟ trained in „real‟ fabric draping for design
4.4.3. Constraints faced by Students and Teachers in the Usage of ‘Real’ Fabric
Draping
The constraints encountered by fashion design students and teachers could hinder
learning in „real‟ fabric draping for design. Table 4.5 shows that all fashion design
students experienced some form of challenge in the usage of „real‟ fabric draping for
design. However, the inadequacy of resources (books, tools, equipment i.e. dummies and
52
workshops) was experienced by about forty eight percent (48.2 %) of the teachers. These
results may mean physical resources need to be made available to fashion design
students so as to overcome the numerous limitations they face as they learn „real‟ fabric
draping for design.
Table 4.5: Constraints experienced by students and teachers in the usage of „real‟ fabric
draping for design
Table 4.5 further shows that, all the teachers experienced some form of challenge in the
usage of „real‟ fabric draping for design. However, the highest percentage fifty nine
percent (59.2%) were faced with inadequate supply of resources i.e. equipment and
books. These results imply that both students and teachers lacked some learning
resources for „real‟ fabric draping for design to ensure meaningful learning takes place.
Constraints experienced by students (n=218) Frequency Percentage
Inadequate learning resources (books, dummies and workshops)
105 48.2
Draping is not taught practically 66 30.2
Limited time allocated to learn draping 29 13.3
Not able to produce good designs 18 8.3
Total 218 100.0
Constraints experienced by teachers (n=27)
Inadequate learning resources (equipment, tools and books )
16 59.2
Student have negative attitude towards learning 1 3.7
Draping is not in curriculum 3 11.1
I am not trained in draping design 7 25.9
Total 27 100.0
53
4.4.4. Source of Fashion Design Curriculum in Public Institutions of Higher
Learning
The source of curriculum is of vital importance as it impacts on the type of fashion
design skills that will be imparted and mode of delivery. In this study, only twenty five
percent (25%) of the institutions control over curriculum used as it was developed by a
departmental board (Figure 4.5). The rest of the institutions did not have control as they
relied on KICD. The Stakeholders involved in curriculum development mentioned were
government representatives from various ministries, private sector (apparel
manufacturing firms) and fashion designers. These results suggest that the public
institutions of higher learning teaching fashion courses did not have uniformity in source
of curriculum to warrant control on content in curriculum in use but highly involved
stake holders in curriculum development.
Figure 4.5: Sources of fashion design curriculum in public institutions of higher learning
54
4.4.5. Curriculum Review Pattern in Public Institutions of Higher Learning
The curriculum review pattern was established to evaluate how often the institutions of
higher learning appraised the fashion design curriculum. Twenty five percent (25.0%) of
the institutions reviewed their curriculum after four years (Figure 4.6). The fate of the
rest of the institutions was left to KICD or departments to decide a review schedule. The
results point to inconsistency in curriculum review pattern in fashion design courses in
public institutions of higher learning. This might signify that any rapid change in
technology or practice may not be incorporated in curriculum in good time.
Figure 4.6: Curriculum review pattern in fashion design courses
4.4.6. Fashion Design Practices Used in Public Institution of Higher Learning
The institutions of higher learning used various fashion design However, data in Table
4.6, shows the institutions barely used fashion design practices that involved „real‟ fabric
draping for design as they were ranked low in terms of utilization. The process of
„Sketch - Draping - Pattern -Toile - Design alteration - Pattern alteration - Sample
garment‟ was the most utilized by thirty seven percent (37.0%) at position 4. This was
followed by ‘Draping - Pattern -Toile - Design alteration - Pattern alteration - Sample
garment’ at position 7. While ‘ Textile print on paper - Draping paper on body form-
55
Sketch - Pattern - Toile - Design alteration- Pattern alteration – Sample’ was ranked at
position 8 with nobody utilized the design practice. These results clearly depicts that
institutions of higher learning teaching fashion mainly exploited the other fashion design
practices resulting to their high ranking and nit „real‟ fabric draping for design.
4.4.7. Pattern Development Techniques Taught to Fashion Design Students
The study results in Figure 4.7 reveals that the least taught pattern development
techniques was „real‟ fabric draping for design by two percent (1.8%) of the teachers.
Table 4.6: Type of fashion design practices used by teachers
FASHION DESIGN PRACTICES (n=27)
DO NOT UTILIZE
UTILIZE RANK
Conceptual idea - Pattern - Toile - Design alteration - Pattern alteration - Sample garment
6 (22.2%)
21 (77.8%)
1
Sketch - Pattern - Toile - Design alteration - Pattern alteration -Sample garment
09 (33.3%)
18 (66.7%)
2
Pattern - Toile - Design alteration - Pattern Alteration -Sample garment
13 (48.1%)
14 (51.9%)
3
Sketch - Draping - Pattern -Toile - Design alteration - Pattern alteration - Sample garment
17 (63.0%)
10 (37.0%)
4
Existing garment - Pattern - Toile - Design alteration - Pattern alteration - Sample garment
20 (74.1%)
7 (25.9%)
5
Existing garment - Sketch - Pattern - Toile - Design alteration - Pattern alteration - Sample garment
21 (77.8%)
6 (22.2%)
6
Draping - Pattern -Toile - Design alteration - Pattern alteration - Sample garment
24 (88.9%)
3 (11.1%)
7
Textile print on paper - Draping paper on body form - Sketch - Pattern - Toile - Design alteration - Pattern alteration – Sample
27 (100.0%)
0 (0.0%)
8
56
The largest percentages of pattern development techniques taught were pattern drafting,
flat pattern design and free hand cutting. These results represent the various pattern
development techniques that the fashion design students were exposed to in the course
of their study period. However, draping design is the least popular pattern development
techniques.
Figure 4.7: Pattern development techniques taught to fashion design students
4.4.8. Mode of Teaching ‘Real’ Fabric Draping as prescribed in Curriculum
The results show that „real‟ fabric draping for design was taught as a topic within a unit
to about sixty percent (60.1%) of the students, while thirty two percent (32.6%)
indicated it was taught as a core unit (Figure 4.8). However, a small number indicated it
was taught by demonstration and classroom project work. This inconsistency in mode of
teaching „real‟ fabric draping for design shows that the delivery of content is not
uniform.
57
Figure 4.8: Mode of teaching „real‟ fabric draping for design as prescribed in curriculum
4.5. Usage of ‘Real’ Fabric Draping for Design by Practicing Fashion Designers
The study investigated the usage of „real‟ fabric draping by fashion designers in Nairobi
County. This entailed who carries out draping, garment techniques used and the mode of
training.
4.5.1. Garment techniques used to realize patterns or design concepts
The results for design Table 4.7 showed that about forty eight percent (47.6%) of the
fashion designers combined pattern drafting, freehand cutting and draping when
producing patterns for clothing.
Table 4.7: Garment techniques used to realize patterns or design concepts
Garment Techniques Frequency (n)
Percentage
Pattern drafting, „freehand cutting‟ & draping 10 47.6
Pattern drafting & „freehand cutting‟ 6 28.6
Pattern drafting 3 14.3
Pattern drafting, „freehand cutting‟ and reverse engineering
2 9.5
Total 21 100.0
58
4.5.2. Personnel who carries out ‘real’ fabric draping for design
Figure 4.9 shows that about eighty eight percent (87.5%) of the jobs requiring draping
were done by the fashion designers‟ themselves. Twelve percent (12.5%) of the jobs
were carried out by employees. This might imply that designers could take on „real‟
fabric draping for design jobs if they had time to do them. Some indicated they could not
depend on employees to do the job as they were reluctant.
4.5.3. Mode of training in ‘real’ fabric draping
The results indicate that most of the fashion designers fifty seven percent (57.1 %) were
trained formally at colleges or universities. However about nineteen percent (19.1%) of
fashion designers taught themselves after induction by apprentice (Figure 4.9).
Figure 4.9: Mode of training in „real‟ fabric draping for design by fashion designers
4.5.4. Garment Categories Created Using ‘Real’ Fabric Draping for Design
Notably, some garment categories predispose themselves to the use of „real‟ fabric
draping for design. Table 4.8 shows that, almost eighty eight percent (87.5%) of
designers produced evening and bridal wear by „real‟ fabric draping for design.
59
Table 4.8: Garment Categories Created Using „Real‟ Fabric Draping for Design by
Fashion Designers
The remaining thirteen percent (12.5%) produced semi couture designs. Most of the
fashion designers indicated they did all jobs requiring draping as employees were not
willing to learn and mostly did not have the skill. These results suggest that fashion
designers were conversant with techniques best suited to produce various garment
categories for their clients such as „real‟ fabrics draping for design and thus utilized it
predominantly.
4.5.5. Constraints faced by Fashion Designers in the Usage of ‘Real’ Fabric
Draping for Design
The constraints faced by fashion designers in the practice of „real‟ fabric draping could
impede its successful incorporation in the garment making processes (Table 4.9). The
main challenge faced was the lack of proper body forms by almost fifty nine percent
(58.8%) of the fashion designers. Additionally, unavailability of suitable fabrics locally,
inadequacy of proficient skills and staff not willing to learn were problems also listed by
fashion designers.
Garment categories created using real fabric draping
Frequency (n)
Percentage Cumulative Percent
Evening & bridal wear 10 62.5 62.5
Bridal wear 4 25.0 87.5
Semi couture designs (made to measure) 2 12.5 100.0
Total 16 100.0 100.0
60
Table 4.9: Constraints experienced by fashion designers in the usage of „real‟ fabric
draping for design
Despite the limitations experienced, all the fashion designers indicated that they would
like fashion design student taught „real‟ fabric draping for design. These results suggest
that fashion designers were experiencing various problems in the usage of „real‟ fabric
draping for design. Therefore, they may not have fully exploited the technique to its full
capacity.
4.5.6: Skill to be Improved Fashion Design Curriculum
Fashion designers interact with fashion design student during visits as guest speakers,
practicum or industrial internship. They are able to give validated feedback on the type
of skills that need to be improved. The results (Table 4.10) show that, about fifty three
percent (52.4%) of the fashion designers indicated pattern making, measurement taking,
crafts and draping design are areas that needed to be improved in teaching .
Table 4.10: Skill to be improved fashion design curriculum
Constraints experienced by fashion designers Frequency (n)
Percentage
Lack of proper body forms 10 58.8 Fabrics suitable not locally available 3 17.6 Staff not willing to learn 2 11.8 Inadequate proficiency in draping skills 2 11.8
Total 17 100.0
Skill to be improved fashion design curricula Frequency (n)
Percent
Pattern making, measurement taking, crafts and draping
11 52.4
Fashion illustration and clothing construction 2 9.5
Emphasis more on practical in public institutions and more theory in private institutions
8 38.1
Total 21 100.0
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Moreover, thirty eight percent (38.1%) indicated that more emphasis on number of
practical lessons needs to be beefed up in public institutions teaching fashion.
4.6. The Availability of Learning Resources in Fashion Design Courses
The reliability Cronbach alpha on the 23 items after deletion was .859 hence they were
incorpotared in the questionnaire. Aspects about the learning the resources were reported
in Table 4.11.
Table 4.11: Availability of learning resources to fashion design students
Key: Always (A), Frequently(F), Rarely (R), Sometimes(S) or Never (N)
LEARNING RESOURCES n = 218
A %
F %
R %
S %
N %
Human resource
Lecturers, teachers 88.5 11.5 0.0 0.0 0.0
Teaching assistants 61.5 30.8 0.0 3.8 3.8
Library assistants 79.2 16.7 5.1 0.0 0.0
Physical Infrastructure
Sewing rooms 76.9 7.7 3.8 11.5 0.0
Fashion/Display Studios 19.2 26.9 7.7 0.0 46.2
Lecture hall 46.2 46.2 7.7 0.0 0.0
Textile lab 30.8 11.5 11.5 3.8 42.3
Materials Different types of fabrics 34.6 7.7 23.1 34.6 0.0
Tailors chalk 61.5 34.6 0.0 0.0 3.8
Paper for patterns 80.8 15.4 0.0 3.8 0.0
Fashion design books 38.5 11.5 7.7 30.8 11.5
Draping manuals 26.9 11.5 11.5 15.4 34.6
Tracing wheel 57.7 7.7 3.8 23.1 7.7
Dressmakers carbon paper 38.5 3.8 7.7 11.5 38.5
Marking tape 0.0 0.0 3.8 15.3 80.8
Equipments and Tools
Draping Body forms 10.2 15.4 0.0 20.6 53.8
Sewing machines 61.5 19.2 0.0 15.4 3.8
Over lock Machines 53.8 23.1 3.8 7.7 11.5
Tailors Square/ Ruler 15.4 7.7 26.9 3.8 46.2
Hip rulers /Vary curve 38.5 7.7 0.0 11.5 42.3
French curves 76.9 19.2 3.8 0.0 0.0
Scissors (Cloth & Paper ) 96.2 3.8 0.0 0.0 0.0
Dressmakers pins 80.8 11.5 3.8 3.8 0.0
62
A composite score on availability of learning resources was generated from the data
collected (Appendix XII).
4.6.1. Availability of Human Resource in Public Institutions of Higher Learning
Availability of the human resources in public institutions of higher learning was
investigated. Table 4.11 shows that most academic personnel were „always‟ available to
fashion design students. These were lecturers or teachers (88.5%), technicians/teaching
assistants (61.5%) and library assistants (79.2%). This may mean that institutions of
higher learning had an adequate number of human resource supplied by the government
or employed by the institutions to assist the students in their academic related activities.
4.6.2. Availability of Physical Infrastructure to Fashion Design Students
The physical facilities in public institutions of higher learning are crucial in the learning
process. Some of the physical resources were not „always‟ available (Table 4.11) sewing
rooms were „always‟ available to seventy seven percent (76.9%) of the students, with
lecture halls „always‟ available to a lesser percentage of the respondents (46.2%).
4.6.3. Availability of Learning Materials Used by Fashion Design Students
The availability of learning materials for use is core for any teaching and learning
process is any to take place effectively. However, results show that most learning
materials were not „always‟ available. Materials that were „always‟ available were
papers for patterns to eighty percent (80.8%), Tailors chalk (61.5%) and tracing wheel
(57.7%) of the respondents (Table 4.11). The other learning materials were not readily
available to the students.
63
These results imply that most of the different types of learning materials used to gain
knowledge of „real‟ fabric draping were not „always‟ available for use. Dressmakers‟
carbon paper, marking tape, fashion design books, draping manuals and different types
of fabric are a fundamental part of „real‟ fabric draping and could impede its usage.
Notably, these could signify that the learning environment for students undertaking a
course „real‟ fabric draping for design is not very conducive.
4.6.4. Availability of Learning Equipment and Tools to Fashion Design Students
Equipment used in the realization of a design concept is important in the learning
environment in fashion design courses. Remarkably a high percentage of respondents
indicated that learning equipment and tools were „always‟ available. These included:
clothing and paper scissors by ninety six percent (96.2%), dressmakers‟ pins (80.8%),
and French curves (76.9%), sewing machines (61.5%) and over- lock machines (53.8%)
of the respondents. Conversely, draping body forms were „always‟ available to only
about fifty nine percent (58.3%) of the students (Table 4.11).
Moreover, Tailors Square/ Metric Ruler and Hip rulers were „Never‟ available to a good
proportion of the students. A body form is the major equipment in garment design by
draping and must be available for effective teaching and learning. These findings denote
that meaningful learning in „real‟ fabric draping for design maybe jeopardized as
equipment and tools needed for draping and truing patterns are not readily available.
4.6.5. Conditions of Physical Infrastructure Used For Learning Fashion Design
Courses
The indicators used to measure conditions of the physical learning conditions were
lighting, ventilation, cleanliness, equipment and tools, furniture and blackboards and
flipchart. The Cronbach aplha was conducted for validity on the six items used in the
64
Likert scale, after deletion of one item the alpha coefficient increased to 0.636,
therefore only six items were used. This was highest coefficient attained and was
accepted as the tool was being used for the first time. A composite was generated on
data collected from conditions of Infrastructure Likert scale (Appendix XI). The results
show that the highest proportions of students sixty eight percent (68.3%) indicated that
learning conditions were in excellent condition.
The composite generated on the conditions of the learning infrastructure showed that
eighty one percent (80.8 %) of the students indicated the learning conditions were
excellent while about nineteen percent (19.2%) indicated they were poor. These results
insinuate that the students were generally satisfied with the current learning conditions.
4.7. Testing Null Hypothesis on Use of ‘Real’ Fabric Draping for Design
The Chi-Square test of independence was used to test relationship in the Null
hypothesis. It was used to establish whether the use of „real‟ fabric draping for design
was independent to source of curriculum, teachers‟ area of training, pattern development
techniques taught, students‟ attitude, availability of learning resources and garment
categories created. The null hypothesis was rejected if the P-value was lower than the
significance level equal at α = 0.05 confidence level.
4.7.1. HO1 Teachers’ Area of Training is Independent of the Use of ‘Real’ Fabric
Draping for Design in Public Institutions of Higher Learning
The hypothesis that the teachers‟ area of training is independent of the use of „real‟
fabric draping for design was tested at 0.05 at significance level (Table 4.12). The Chi –
Square test results (χ² (2, N = 27) = 10.146, p < 0.006) show the test was significant (p <
65
0.006). The null hypothesis was rejected meaning that the teachers‟ area of training is
independent of the use of „real‟ fabric draping for design.
Table 4.12: Chi-Square analysis of the teachers‟ area of training and use of „real‟ fabric
draping for design in public institutions of higher learning
Teachers Areas of Training (n=27)
Do Not Use
Use Total
Garment Design 10 (76.9%)
3 (21.4%)
13 (48.1%)
Art And Design 2 (15.4%)
2 (14.3%)
4 (14.8%)
Clothing And Textile Design 1 (7.7%)
9 (64.3%)
10 (37.0%)
Total 13 (48.1%)
14 (51.8%)
27 (100.0%)
V = 0. 018; χ² (2, N = 27) = 10.146, p < 0.006*
* Significant at < 0 .05
The implication would be that there is a significant relationship between teachers‟ area
of training and use of „real‟ fabric draping for design in public institutions of higher
learning. This may signify 51.8 % of the teachers who used „real‟ fabric draping for
design were those trained in clothing and textile design. This is because their area of
training involved pattern making hence giving them a better chance of being familiar
with the „real‟ fabric draping design as a technique in the course of their training.
Statistical value yielding from Cramer‟s V (V) measure of correlation was 0.02 implying
a weak association between teachers‟ area of training being independent of the use of
„real‟ fabric draping for design.
4.7.2. HO2 Source of Curriculum is Independent of the Use of ‘Real’ Fabric
Draping for Design in Public Institutions of Higher Learning
The hypothesis that the source of curriculum is independent of the use of „real‟ fabric
draping for design was tested at 0.05 significance level (Table 4.13). The results of the
66
Chi-square test (χ² (2, N = 31) = 31.000, p < 0.0001) showed the test is significant (p <
0.0001). The null hypothesis was rejected meaning that the source of curriculum is
independent of the usage of „real‟ fabric draping for design.
Table 4.13: Chi-Square analysis of the source of curriculum and use of „real‟ fabric
draping for design in public institutions of higher learning
V= 0.623; χ² (2, N = 31) = 31.000, p < 0.0001*
* Significant at < 0 .05
This finding would imply that there is a significant relationship between source of
curriculum and use of „real‟ fabric for design in public institutions of higher learning.
These results mean that those teachers with curriculum from Departmental Committee
Board had a higher likelihood of using „real‟ fabric draping for design (51.6 %). The
value obtained from Cramer‟s V (V) correlation measure was 0.63 suggesting the
presence of a fairly strong association between source of curriculum and use of „real‟
fabric draping for design.
4.7.3. HO3 Pattern Development Techniques Taught is Independent of the Use of
‘Real’ Fabric Draping for Design in Public Institutions of Higher Learning
The hypothesis tested was whether pattern development techniques taught are
independent of the use of „real‟ fabric draping at 0.05 significance level (Table 4.14).
The Chi-square results (χ² (2, N = 217) = 67.837, p < 0.0001) showed that the test was
Source of Fashion Design Curriculum (n=31)
Do Not Use
Use Total
KICD & Departmental Committee Board 0 (.0%)
7 (43.8%)
7 (22.6%)
Departmental Committee Board 0 (.0%)
9 (56.3%)
9 (29.0%)
KICD (Kenya Institute of Curriculum Development)
15 (48.4%)
0 (.0)
15 (48.4%)
Total 15 (48.4%)
16 (51.6%)
31 100.0%
67
significant at (p < 0.0001). The null hypothesis was rejected meaning that pattern
development techniques taught was independent of the use of „real‟ fabric draping. Thus,
there is a significant relationship between pattern development techniques taught and use
of „real‟ fabric draping for design.
Table 4.14: Chi-Square analysis of the pattern development techniques taught and use
of „real‟ fabric draping for design in public institutions of higher learning
V= 0 .646; χ² (2, n = 217) = 67.837, p < 0.000*
* Significant at < 0 .05
The observed trend might perhaps be due to 60.4% who used „real fabric being more
likely to also utilize pattern drafting, flat pattern design and free hand cutting pattern
development techniques. Further analysis using Cramer‟s V (V) measure of correlation
yielded a value of 0.65. This may indicate the presence of a strong association between
pattern development techniques and use of „real‟ fabric draping for design.
4.7.4. HO4 Availability of Learning Resources is Independent of the Use of ‘Real’
Fabric Draping for Design in Public Institutions of Higher Learning
The hypothesis tested was availability of learning resources are independent of the use
of „real‟ fabric draping at 0.05 significance level (Table 4.15). The results of the Chi-
Pattern development techniques taught (n=217)
Do Not Use
Use Total
Flat pattern and pattern drafting 86 (100.0%)
61 (46.6%)
147 (67.7%)
Flat pattern and freehand cutting 0 (.0%)
67 (51.1%)
67 (30.9%)
Flat pattern and draping 0 (.0%)
3 (2.3%)
3 (1.4%)
Total 86 (39.6%)
131 (60.4%)
217 (100.0%)
68
square test (χ² (1, N = 26) = .784, p > 0.303) shows the test was not significant (p >
0.303). The null hypothesis was not rejected that availability of learning resources are
independent of the use of „real‟ fabric draping
Table 4.15: Chi-square analysis of the availability of learning resources and use of „real‟
fabric draping for design in public institutions of higher learning
Ø = 0.198; χ² (1, N = 26) = .784, p > 0.303
Thus, there is no significant relationship between availability of learning resources and
use of „real‟ fabric draping for design. This trend may be due to 46.2.7% of teachers who
indicated the learning resources were not available. Moreover, there is a big shortfall of
some essential equipment such as dressmaking body forms and pattern making tools.
Further analysis using the Phi Ø measure of correlation obtained a value of 0.12,
indicating a weak association between availability of learning resources and use of „real‟
fabric for design.
4.7. 5. HO5 Students’ Attitude is Independent of the Use of ‘Real’ Fabric
Draping for Design in Public Institutions of Higher Learning
The Cronbach aplha was conducted for validity on the 17 items used in the Likert scale
with an alpha coefficient went of < .711 after deletion of 6 items only 11 items were
used for data collection. The hypothesis tested was whether students‟ attitude was
independent of the use of „real‟ fabric draping for design at 0.05 significance level
(Table 4.16).
Availability of Learning Resources (n= 26)
Do Not Use Use Total
Never available
3 (25.0%)
2 (14.3%)
5 (19.2%)
Always available
9 (75.0%)
12 (85.7%)
21 (80.8%)
Total 12 (46.2%)
14 (53.8%)
26 (100.0%)
69
Table 4.16: Chi-Square analysis of the students‟ attitude and the use of „real‟ fabric
drape for design in public institutions of higher learning
Ø = 0.066; χ² (1, N = 209) = 0.864, p > 0. 353
The results of the Chi- square test (χ² (1, N = 209) = 0.864, p > 0. 353) show that the test
was not significant (p > 0.353). Therefore the null hypothesis that the students‟ attitude
is independent of the use of „real‟ fabric draping was not rejected. This could imply that
there is no significant relationship between the students‟ attitude and the use of „real‟
fabric draping for design in public institutions of higher learning. This trend in the use of
„real‟ fabric draping for design though not significant could be due to 95.7% of the
students indicating they could not use „real‟ fabric draping for design. The Phi Ø
measure of correlation yielded a value of 0.07, suggesting the presence of a weak
association between students‟ attitude and the use of „real‟ fabric draping for design.
Therefore we reject the null hypothesis that source of curriculum, teacher‟s area of
training and pattern development techniques taught are independent of the use of „real‟
fabric draping for design. Conversely, we fail to reject the hypothesis that availability of
learning resources and students‟ attitude are independent of the use of „real‟ fabric
draping for design.
Student Attitude (n=209)
Do Not Use Use Total
Negative Attitude 81 (94.2%)
124 (96.9%)
205 (95.8%)
Positive attitude 5 (5.8%)
4 (3.1%)
9 (4.2%)
Total 86 (95.7%)
9 (4.3%
209 (100.0%)
70
CHAPTER FIVE: DISCUSSION
5.1. Introduction
The discussion of results was based on the findings of the study. Assessing „real‟ fabric
draping for design in public institutions of higher learning and among fashion designers,
would resolves the function of the different underlying issues related to its usage. Very
little literature was found on the usage of „real‟ fabric draping as a garment design
technique. However Lindqvist (2013), study in Boras University Sweden artistically
researched on garment design draping and the logic of pattern cutting.
Dumridhammaporn et.al. (2012), study in Bangkok, Thailand analyzed the efficiency
between flat pattern and draping design. Anicet, et.al. (2012), looked at creativity in
fashion design using „real‟ fabric draping. Boulanger (2003), explored the different sari
designs in India.
This study was designed to establish the extent of the use „real‟ fabric draping for design
in Kenyan public institutions of higher learning and among fashion designers. Prior
studies have focused on numerous key aspects of Home science as a practical subject in
Kenyan institutions of higher learning. No study has yet been done to exclusively assess
the usage of „real‟ fabric draping for design in Kenya (Kamau, 2012; Serem, 2010;
Telewa ; 2004). This study was therefore able to fill this gap in literature on usage of
„real‟ fabric draping for design.
5.2. Characteristics of Fashion Design Students in Public Institutions of Higher
Learning
The results of this study show that majority of the fashion design students were female.
The finding is consistent with those of Kamau (2012), who found that ninety percent
71
(90.0%) of the apparel design students in public universities were females whereas 10%
were males Kimemia (2012) established that all participants from the textile department
were female. Hiller & Connell (2012) in the United Kingdom, found that almost all
students in Apparel and Textile undergraduate programs (96 .0%) were female students,
which was a representative of other Apparel and Textile undergraduate programs in the
United States of America. A possible explanation for these results may be that fashion
design as a course attracts more female applicants than men. The results further show
that the highest proportion of fashion design students were under taking either a
certificate or diploma course (see Table 4.1). A possible explanation for this might be
that some students benefitted from government scholarships thus raising the numbers in
these courses.
The GOK (1998), indicated that under enrolment in key post-secondary courses maybe a
predicament to practical courses. This may explain the observed trend in reduction of
numbers of as transition to higher levels of advancement in training. It is interesting to
note the largest percentage of students studied Home Science as a technical subject in
secondary school (see Figure 4.1). A possible explanation for this might be that Home
science is one of the key post-secondary cluster subject requirements for one to study
fashion design at certificate, diploma and University. The present finding is consistent
with other researches which found that Home Science as practical subject is useful in
laying a foundation for further learning and vocational training and cannot be over
looked (Karimi, 1992).
5.3. Competencies and Characteristics of Fashion Design Teachers
Prior studies have noted the importance of the teachers‟ competency and character
(Kamau,2012); Serem, 2010 and Sang, 2002). According to the results of this study
72
almost all fashion design teachers were female and about half the number sampled had
attained a bachelor‟s degree (see Table 4. 1). These results may be explained by the fact
that the number of females studying fashion design courses is high and they later
advance in training to become teachers in fashion design. These findings are further
supported by the idea that boys were not aware of the future careers in Home Science as
indicated by Kobia (1991); and they may not have become teachers. The highest number
of fashion design teachers was trained in the areas of clothing/ garment design or textile
design (see Table 4.3.). What is surprising is that a good number of the fashion design
teachers had been trained in public universities. They had taught aspects of fashion
design for a period of between 11 to 16 years (see Figure 4.2, Table 4.5). However, the
results were rather disappointing as none of the teachers in this study had specialized
training to teach in the area fashion design. It is difficult to explain this result, but it
might be related to the fact that for a long time Home Science could be pursued at the
university only if one wanted to be a Home Science teacher and singling out Clothing
and Textile (Serem, 2010).
Three quarter of the respondents reported that they received their training in Kenya. An
implication of this is that inbreeding was predominant and may jeopardize teaching
fashion design as a practical course. The results produced corroborate the findings by
Kang‟a (1994), that Home Science teachers lacked relevant training in the teaching and
assessment of practical sessions of the course. Moreover, not all Home Science teachers
are confident in handling the Clothing and Textiles and may influence the attitude of the
students (Sang, 2002).
On whether teachers were involved in other occupational activities, the study found
majority of them were not engaged in any other occupational activity (see Figure 4.3).
73
The observed increase in those not engaging in any other activity could be attributed to
teachers who were mostly busy with other administrative duties (member of
subcommittees, coordinator of programmes, timetabling, and co-ordination of
examination).
5.4. Usage of ‘Real’ Fabric Draping for Design in Public Institutions of Higher
Learning
In reviewing the literature, limited data was found directly linked to the procedures and
practices in „real‟ fabric draping for design. This is the first study in Kenya to investigate
the use of „real‟ fabric draping for design in public institutions of higher learning. The
most interesting finding was that, in all the five public institutions of higher learning
involved in this study, four did not use „real‟ fabric draping for design. However, this
result has not been previously described and it was rather disappointing to have only one
institution teaching „real‟ fabric draping for design. The reasons given for the
inconsistency was some institutions indicated it was too expensive to integrate, while
others explained it was partly taught in pattern development that was adequate.
These results further show a clear divergence in training of fashion design teachers as a
large proportion of them have not been trained in „real‟ fabric draping for design (see
Figure 4.4). This could possibly mean that opportunities in the area of „real‟ fabric
draping for design could not be fully exploited. This may be due to only small a
percentage of teachers having received the training in „real‟ fabric draping for design.
These results contradict Anicet,et.al, (2012), study in Portugal which affirmed that
draping technique according to research opens a vast field of possibilities in the creation
of new products giving room to total innovation and differentiation of patterns.
74
Constraints faced by teachers and students when learning fashion design courses is not
fully documented in literature. However as mentioned in literature review, problems
associated with learning and teaching can be detrimental to any subject (Serem, 2010).
Very little was found in literature on inquest of constraints faced in the usage of „real‟
fabric draping for design. In apparel design, Kamau (2012) reported that majority of
students studying fashion design had inadequate access to computer hardware, software
and learning resources such books and the internet for apparel CAD technology training.
Muchangi (2011), also identified inadequate in-service training of lecturers as the main
challenge facing implementation of the curriculum. The results of the current study
seems to agree with the observations in that all students and teachers indicated they had
faced or would face some form of constraints in the usage of „real‟ fabric draping for
design as shown by Table 4.5.
It is important to note that the largest proportion of teachers and students pointed
towards the lack of adequate equipment, tools, books and body forms as the major
constraints. Therefore effective learning in „real‟ fabric draping for design could not be
achieved. This agrees with literature related to Home Science as a practical subject that
indicated students were faced with major constraints such as inadequate learning
resources and facilities (Telewa, 2004; Kang‟a, 1994). This result may be explained by
the fact that no teacher had specialized training in fashion design as course; with the
three quarter having them being trained in Kenya resulting in duplication of skills
acquired (see Table 4.3). It can thus be suggested that there should be an increase in the
number of institutions of higher learning undertaking „real fabric draping for design in
order to reduce the constraints faced during learning.
75
According to Fullan (1991), the implementation of curriculum advancement is bound to
be unsuccessful if teachers are not involved in the entire process of curriculum
development. Contrary to expectations, this study found only one institution had control
over curriculum in use and had a specified period (four years) upon which curriculum
must be reviewed (Figure 4.5 and Figure 4.6), with numerous stakeholders involved
including fashion designers. The rest of the institutions relied on KICD to provide
curriculum. These results differ from Munavu et.al. (2008), study which pointed out that
the curriculum development process at KICD involves most stakeholders including
higher education institutions; whereas the curriculum in universities is developed by
individual universities. The teachers pointed out that they did not know who was
involved in curriculum development at KICD. The study results corroborate the findings
by Nyandusi (2001), that employers‟ had a strong willingness for participating in
curriculum development but were not involved.
A possible explanation to some of the results may be inadequate funding in curriculum
development by those getting it from KICD (KIE, 2006). Moreover, Mulama (2006),
points to certain youth polytechnics that are still using outdated syllabus of 1974 and are
staffed by untrained personnel. The issue emerging from this finding is the inability for
any rapid change in technology in fashion design being addressed in curriculum. The
Kenya Institute of Education controls content in curriculum thus respondents were not
aware of the specified period within which curriculum revision is done. In addition,
KICD does not have command over technical personnel or examination in the education
system as the Ministry of education and Universities are charged with this mandate.
Rust, et al. (2007), explains that the importance of research in fashion design being
embedded in the specific practice that characterizes fashion design as different
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approaches to designing fashion exists. The most recent study in the brain area by
Dumridhammaporn, et al. (2012), links the time and the capital cost of the draping
technique as being less than those of the flat pattern making. The models‟ satisfaction to
the pattern making indicated that the sample made from the draping pattern making
technique was more satisfying than the made by flat pattern making. This was perceived
by the qualification, proportion, fitting, size and cascade of the fabric grain of the sample
made from draping technique were better than those of flat pattern making technique.
The results of this study show that a large proportion of the teachers utilized fashion
design practices that did not involve draping and also rated them highly. Moreover, the
current study also found out that the pattern development techniques least used was
„real‟ fabric draping for design (see Table 4.5 and Figure 4.7).
One of the issues that emerge from these findings is that the students were not given
equal opportunity to learn „real‟ fabric draping for design as a pattern making technique.
These may be due to the fact that it was not prescribed in curriculum. The teachers‟
inclination towards fashion design practices that favored other techniques hinders
learning „real‟ fabric draping for design. These results do not support the previous
documentation by Friggs (2008,) that noted that a good pattern maker must learn how to
drape a pattern on a dress form, draft perfect flat patterns and create patterns by
computer. This is because their first job placement may be as a sample cutter or pattern
grader. This study was unable to demonstrate whether the students are disadvantaged by
not learning „real‟ fabric draping for design as a pattern making technique.
There was no literature found on the mode of teaching „real‟ fabric draping for design as
a practical subject. The study reported that more than half of the respondents were taught
„real‟ fabric draping for design as a topic within a unit. However a few respondents were
77
taught as a core unit (see Figure 4.8). Telewa (2004), reported that limited time allocated
for teaching Home Science was one of the constraints faced by teachers. Most teachers
who taught draping by theory or class demonstration with elements of pattern drafting
signified that more time was needed to teach draping. While those who taught by
demonstration and classroom project work pointed out that more time was needed to
adequately teach. The current data is consistent with Karimi (1992) and Mumbi (1991),
results which show that teaching methods frequently used for HomS science were the
teacher-centered methods like lecture, assignment and demonstrations. Student-centered
methods like guest-speakers, seminars and visits were ignored and rarely used.
The Government of Kenya statistics show that 90% of unemployed youth lack relevant
skills. Certain youth polytechnics are still using outdated syllabus of 1974 and are
staffed by untrained personnel as reported by Mulama (2006).The finding is also in
concurrence with MOEST (2004) report, which showed that curriculum implementers
are yet to embrace modern methods of teaching. There is more theoretical teaching at the
expense of practical skills teaching due to lack of equipment, tools and materials for
practical training. There is very little inspection of curriculum implementation at
different level. Although this variable can be said to relate with the usage of „real‟ fabric
draping for design, there is need to consider it together with other issues which may not
have covered by this study. These results therefore need to be interpreted with caution.
Time allocated for effective learning of „real‟ fabric draping for design maybe
considered in cohort with other indicators such as quality of resources available and
teachers‟ competencies. This finding has important implications in developing a clear
education curriculum policy on time allocated for the practical courses. However, this
requires more studies utilizing larger sample size from both private and public
institutions of higher learning offering fashion design courses.
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5.5. Usage of ‘Real’ Fabric Draping for Design by Practicing Fashion Designers
The current study found that almost half of fashion designers used „real‟ fabric draping
for design combined with either pattern drafting and / freehand cutting (see Table 4.6).
Almost the same percentage indicated that they were formally trained in „real‟ fabric
draping in design institutions of higher learning, while only a few said they self-trained
after apprenticeship. The fashion designers implied that they did most of the jobs
requiring „real‟ fabric draping for design. The results signify the importance of „real‟
fabric draping for design as a relatively high percentage of fashion designers combined
the technique with other methods to develop apparel products.
Moreover, fashion designers felt the need to utilize „real‟ fabric draping for design as
some taught themselves. However it insinuates the lack of standardization in training of
fashion designers using „real‟ fabric draping for design despite its usefulness in fashion
design. These accords a report by Pierce (2010), that flat pattern making, draping design
and CAD are techniques core to realization of the design concept and finally
construction of the garment design. Sometimes draping is combined with flat pattern
making. This is especially useful when variations on an existing silhouette are producing
(Jaffe & Relis, 2004). Most of the fashion designers gave reasons such as „lack of proper
body forms‟ for their inability to use draping effectively. While others stated that „staff
not willing to learn‟, „fabrics were not easily available‟ or „inadequate proficiency in
draping skills‟ (see Table 4.7). These data brings to light the inconsistency in the usage
of „real‟ fabric draping among fashion designers in Nairobi County.
The highest percentages of fashion designers were producing evening and bridal wear
using „real‟ fabric draping (see Table 4.8). These findings relate to observations by
Friggs (2008), that documents draping as a method used mainly for couture dresses and
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evening wear. The results also support previous research into the brain area that
observed draping technique having numerous advantages such as innovation and
differentiation of patterns. It could be even more significant if the technique is applied to
the development of customized and differentiated female clothing products( Anicet et.al.
, 2012). This finding may suggest that some garment designs are predisposed to „real‟
fabric draping. This may result in the fashion designers who are conversant with the
technique having advantage over the others. This combination of findings provide some
support to the conceptual premise that the input or influence of fashion designers in the
activity (fashion design learning) is important as it does relate to experience, knowledge
acquired and final products made.
The results show that most fashion designers (Table 4.10) indicated that pattern making;
measurement taking, crafts and draping were areas that students were not competent in.
Additionally more practical needed to be undertaken as a mode of teaching. These
findings relate to observations by El-Namaki (1998) which indicate that higher learning
has demonstrated considerable insufficiency because post-secondary institutions have
strong bias towards law, social sciences and other art subjects. Anami (2013), noted that
Kenya also has a high number of graduates with arts and science degrees who lack
professional training. The trend portrays the gap in training on student‟s competencies
that must be addressed to ensure proper skill acquisition in fashion design courses.
5.6. Influence of Learning Resources and Facilities on the Use of ‘Real’ Fabric
Draping for Design
The availability of learning resources and facilities is routinely established to determine
whether any effective learning takes place. According to Ayler (2011), inadequacy of
staff and learning resources are the main impediment to the implementation of
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curriculum. The Commission for Higher Education (2003), reports the need to
continually re-define quality and excellence and regularly review academic resources for
public universities to ensure that they are adequate and appropriate to support the
programmes being offered. These literatures highlight the importance of resources in
fashion learning for skills to be imparted on the learners.
The current study shows that learning resources and facilities were available for use to
majority of the fashion students (see Appendix XII). It seems possible that these results
are due to the institutions being affiliated to the government and therefore were assured
of financial support. The highest proportions of students (Appendix XI) indicate that the
condition of physical infrastructure was in excellent form. The results indicate that
studios for design and display, marking tape, draping body forms, fashion design books
and draping manuals were learning resources and facilities inadequately in supply (see
Table 4.10). The finding is in agreement with Kamau (2012), who pointed out that in
selected universities apparel CAD teaching and learning resources were inadequate. The
emerging issue from these findings is that the available learning resources and facilities
are not adequate to teach „real‟ fabric draping. It is possible therefore that the deficiency
of the learning resources and facilities impedes on use of „real‟ fabric draping despite
institutions being compelled by curricula.
5.7. Pattern Development Techniques Taught is Independent of the Use of ‘Real’
Fabric Draping for Design in Public Institutions of Higher Learning
The most interesting finding was that there is a relationship between pattern
development techniques taught and use of „real‟ fabric draping for design. At P < 0.05
there was existence of a fairly strong association between pattern development
techniques being dependent to the use of „real‟ fabric for design. The observed trend
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might perhaps be due to those who used „real fabric implying being more likely to utilize
flat pattern design and free hand cutting as pattern development techniques (Table 4.14).
The results concur with observations by Pierce (2010), that pattern drafting, draping
design and CAD technique are critical to a fashion designer's concept being made into a
garment. The author further noted that each of these techniques serves the purpose of
creating a style pattern that can be used to construct the designer's concept. It is
important to bear in mind that without using one of these techniques, it may be almost
impossible for a new fashion design concept to be made into a wearable garment.
The strong association may mean pattern making methods can be combined when
designing garments. Therefore, the fairly high use of other pattern making techniques
other than using „real‟ fabric draping for design may limit the fashion designers in one
way or another. Dumridhammaporn et al. (2012), linked „real‟ fabric draping for design
as pattern making method that reduces time waste and increase of accuracy in getting the
right proportion to the cloth design and the models‟ satisfaction compared to flat pattern
making techniques.
5.8. Source of Curriculum is Independent of the Use of ‘Real’ Fabric Draping
for Design in Public Institutions of Higher Learning
Another important finding is that, there is a relationship between source of curriculum
and use of „real‟ fabric for design in public institutions of higher learning. At P < 0.05
there is presence of a fairly strong association between the sources of curriculum being
dependent to the use of „real‟ fabric draping for design. These results mean that those
with a highest likelihood of using „real‟ fabric draping for design had curriculum
developed by Departmental committee boards (see Table 4.13). This could have led to
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the inconsistency in the use of „real‟ fabric draping for design in public institutions of
higher learning.
The study demonstrates that the source curriculum dictates content incorporated in
curriculum and thus would compel the institutions and teachers to use „real‟ fabric
draping for design. This corroborated by Slaughter (1997), report that curriculum
content is created by a process of resolving tensions, academic disciplines, technological
and economic change and the different agendas of the government, employers and labor
organization. However, there is an urgent need for formal collaborations between
curriculum researchers in institutions of research and higher education and KICD
according to Otunga & Nyandusi (2009). Fullan (1991), concluded that implementation
of curriculum innovation is bound to be unsuccessful if teachers are not involved in the
entire process of curriculum development.
5.9. Teachers’ Area of Training is Independent of the Use of ‘Real’ Fabric
Draping for Design in Public Institutions of Higher Learning
From the results of the current study, indications are that perhaps that there is a
relationship between teachers‟ area of training and use of „real‟ fabric draping for design
in public institutions of higher learning. This is indicated by the fact that at P < 0.05
there is a weak association between teachers‟ area of training being dependent on the use
of „real‟ fabric draping for design. The results show that those trained in clothing and
textile design had a higher probability of using „real‟ fabric draping for design (see Table
4.12). Clothing and textile design as an area of training could have content that involves
pattern making which may include draping as a pattern making method. This would
translate into teachers‟ trained „real‟ fabric draping for design as a technique.
83
This study confirms that teachers‟ area of training is associated with the use of „real‟
fabric draping for design. This present finding seems to be consistent with those
MOEST (2004), observed that the lack of staff development opportunities for curriculum
implementers in Kenya. The report indicated that if teachers are well trained and highly
motivated, learning will be enhanced. The results are consistent Kang‟a (1994), study
that suggested Home Science teachers also lacked relevant training in the teaching and
assessment of practical sessions.
This being the first study on the use of „real‟ fabric draping for design it brings out the
fact that a cohort of issues and concerns determines the use of „real‟ fabric draping for
design. These results are significant as they give an insight into some dynamics in the
fashion design learning system that may work in association with others to influence the
use of „real‟ fabric draping for design. Until recently, little of practical use has been
published on the art of draping beyond the introduction of the basics, leaving the craft to
become a skill passed on from master to apprentice, just like tailoring (Lindqvist, 2013).
The study was able to contribute to the field of knowledge on pattern development
techniques taught, source of curriculum and teachers‟ area of training as indicator that
had a strong association with the use of „real‟ fabric draping for design. This is an area
that has specifically not been documented within Africa including Kenya. Fashion
design researches should focus on practices or artistic techniques in the field of fashion
design. This is because only one institution out of the five involved in the study used
„real‟ fabric draping for design. This is in spite of a reasonable number of fashion
designers using it and all fashion designers indicating it should be taught to fashion
design students. However, the administering of questionnaires and interview schedules
to students teachers fashion designers may not have fully documented the technique.
84
This is because it can be embedded in several components of cultural practices in
adornment and garment design such as head gear.
85
CHAPTER SIX: SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
6.1. Summary of Main Findings
The study has given an account of the use of „real‟ fabric draping for design in Nairobi
County Kenya. The main focus of the dissertation was to assess the usage of „real‟ fabric
draping for design, focusing on public institutions of higher learning and fashion
designers. This was essential in developing strategies that would be put in place to
enhance the use of „real‟ fabric draping for design. It was hypothesized some of the
variables in the fashion design learning system were independent of the use of „real‟
fabric draping for design and may influence its utilization by the respondents.
The study adopted a survey design, which involved the administering of questionnaires
to 4 Heads of department, 27 teachers and 218 students and interview schedules to 21
fashion designers who participated in the study design. The variables measured were
teachers‟ competencies, usage of „real‟ fabric in draping for design in public institutions
of higher learning, usage of „real‟ fabric draping for design by fashion designers, fashion
design practices, availability of learning resources and conditions of infrastructure and
students‟ attitude. The findings indicated that there was no association between
availability of learning resources, students‟ attitude, garment categories created and the
use of „real‟ fabric draping for design. However, other variables such as pattern
development techniques, sources of curriculum and teachers‟ area of training had an
association with the use of „real‟ fabric draping for design.
The results indicate that nearly all fashion design teachers were female (93.0%). None
of the teachers had specialized training to teach in the area of fashion design, as majority
of them teachers (85.2%) were trained in clothing / garment design or textile design.
The highest percentage of teachers (74.1%) indicated they had no training in „real‟ fabric
86
draping for design. Notably high percentage (74.1%) of the fashion design teachers were
formally trained in Kenya. Most of the teachers (59.3%) were not engaged in any other
occupational activity as they were mostly busy with other administrative duties.
Generally, most of the public institutions of higher learning (75.0 %) did not use „real‟
fabric draping for design. They indicated they had no control over curriculum content as
it was from KICD. The same percentage indicated they were not aware of either
curriculum review pattern or stake holders involved in developing the curriculum they
use. Basically, fashion design practices that involved „real‟ fabric draping for design
were least popular in the public institutions with the least proportion of teachers (1.8%)
teaching „real‟ fabric draping for design as a pattern development technique. „Real‟
fabric draping for design was mainly taught (60.1%) as a unit within a topic. Some vital
resources such as studios (46.2%), marking tape (80.8%), draping body forms (53.8%)
and draping manuals (34.6%) were „never‟ available for use when learning „real‟ fabric
draping. In general, learning conditions were in excellent condition (68.3%). A
reasonable number of fashion designers (47.6%) used real fabric draping, with most of
them (87.5%) mainly produced evening and bridal wear. This is despite some of them
(58.8%) indicating they lacked proper body forms to use.
Most of the fashion designers combined pattern drafting, freehand cutting and draping
when producing patterns for clothing. A good number of the fashion designers had
been trained in „real‟ fabric draping for design hence they did work requiring „real
fabric draping for design ‟draping (87.5%) at their enterprises. However about nineteen
percent (19.1%) of fashion designers taught themselves after apprentice. Majority of the
fashion designers (87.5%) produced evening and bridal wear by „real‟ fabric draping for
design. The main challenge faced was the lack of proper body forms. The fashion
87
designers felt there was need to decrease the overemphasis on theory rather than
practical when teaching as it may impact negatively on the competency of the graduates.
The findings indicated that there was no association between availability of learning
resources (Ø = 0.198; χ² (1, N = 26) = .784, p < 0.303), students‟ attitude (Ø = 0.066; χ²
(1, N = 209) = 0.864, p < 0. 353) and the use of „real‟ fabric draping for design.
However, at P < 0.05 pattern development techniques (V= 0 .646; χ² (2, N = 217) =
67.837, p < 0.000*) and sources of curriculum (V= 0.623; χ² (2, N = 31) = 31.000, p <
0.000*) had a fairly strong association with the use of „real‟ fabric draping for design.
The teachers‟ area of training (V = 0. 018; χ² (2, N = 27) = 10.146, p < 0.006*) had a
weak association with the use of „real‟ fabric draping for design.
6.2. Conclusions
Based on the findings of the study, the following conclusions were made:
1. Majority of the teachers (respondents) in the area of this study, were not trained in
fashion design as an area of specialization.
2. Very few public institutions of higher learning used „real‟ fabric draping for design as
they indicated it was not prescribed in curriculum.
3. Most of the fashion designers used „real‟ fabric draping for design with all of them
recommending that the technique should be taught to fashion design students.
4. The inadequacy of body forms, draping manuals, styling tape and hip curves in this
study may pose a great challenge to teachers and students. This may contribute to the
low use of „real‟ fabric draping for design.
5. A fairly strong association exists between the source of curriculum, pattern
development technique taught and the use of „real‟ fabric draping for design.
88
6. The lack of skilled teachers in „real‟ fabric draping for design may jeopardize learning
of the technique in public institutions of higher learning teaching fashion design.
7. The students‟ attitude is independent of the use of „real‟ fabric draping for design.
6.3. Recommendations for Policy and Practice
The following recommendations were made for policy and practice from the study
findings:
1. Curriculum developers (universities and other stakeholders) should ensure curricula
developed for fashion design courses include „real‟ fabric draping technique for
design. This may reduce the inconsistency in skills acquisition in fashion design
courses.
2. The public institutions of higher learning should offer short courses in „real‟ fabric
draping for interested persons to increase skilled manpower with the knowledge of
the technique in fashion design industry.
3. The public institutions of higher learning need to ensure adequate funds are set aside
for the purchase of body forms and other tools that are vital in teaching „real‟ fabric
draping, to ensure effective learning in fashion design courses.
4. The fashion design courses should be audited regularly and current techniques
adopted by the learning institutions to ensure skills taught are relevant, competitive
and meet the requirements in the fashion design industry labour market.
5. The public institutions of higher learning should ensure that teachers engaged have
the adequate skills to teach „real‟ fabric draping for design as a practical unit. This
would ensure that the students acquire pertinent skills imparted as prescribed in
curriculum.
6. There is limited research in the area of fashion design in Kenya. A nationwide survey
on the status of fashion design as a practical course should be carried out. It should
89
be organized by the National Commission of Science, Technology and Innovation
(NACOSTI) and Kenya Journal of Technical and Vocational Education (KJ- TVET).
The published results would bring to light the situation of „real‟ fabric draping for
design in the Kenya and generate policy to guide review of course content.
6.4. Recommendations for Further Research
Further research can be carried out from the following aspects arising from the research
findings:
1. A comparative study on the use of „real‟ fabric draping for design between public and
private institutions of higher learning, teaching fashion design courses in Kenya.
2. The carrying out of a need assessment research to establish the technological gaps in
fashion design curriculum in Kenya.
3. Investigate the opportunities and constraints faced by fashion designers in the practice
of „real‟ fabric draping for design in Kenya.
4. Case studies of fashion designers who use „real‟ fabric draping for design as a pattern
making and as design tool to develop innovative designs.
5. Practice-based research on „real‟ fabric draping for design with an industry focus
should be explored. This will offer potential for collaborations with emphasis in
hands-on development on innovation of techniques between fashion design teachers,
fashion designers and external partners.
90
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8.0. APPENDICES
8.1. Appendix I; Participant Information and Consent Form
RESEARCHERS CONTACT: Juliet Kaindi Isika, Ph.D. Student, Department of Fashion Design and Marketing Kenyatta University P O Box 43844 00100 Nairobi, Kenya Email: [email protected] Cell phone: +254-722609495 INTRODUCTION: I am a graduate student at Kenyatta University, Department of Fashion Design and Marketing; conducting a research on the use of „real‟ fabric draping for design in Kenya in institutions of higher learning and among fashion designers in Nairobi, County. You are invited to participate in this study because you are involved in fashion design learning either as a head of department, teacher or student. You may also be a formally trained and practicing as a fashion designer. Your participation is entirely voluntary. Truthfully answer the set of questions as names or addresses will not be recorded. The information given will be held in confidence and used for the purposes of this study only. DECLARATION I understand the purpose and procedures of this study as described and I voluntarily agree to participate. I understand that at any time during the investigation I will be free to withdraw without jeopardizing any employment or educational opportunities. I have had the opportunity to ask questions and have received satisfactory answers to all inquiries regarding this study.
TO BE COMPLETED BY INTERVIEWER/ RESEARCH ASSISTANT I certify that I have read the above consent procedure to the participant. --------------------------------------- --------------------------------- Signature of Investigator Date: TO BE COMPLETED BY RESPONDENT --------------------------------------- ---------------------------------
Signature of respondent Date:
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8.2. Appendix II; Study Questionnaire for Fashion Design Teachers
Name of Organisation: Date: Part A: Teachers Characteristics and Competencies 1) Indicate your gender/sex. Male [ ] 2) Female [ ] 2) What is your highest level of education? a) Diploma [ ] d) Bachelors Degree [ ] b) Higher Diploma [ ] e) PhD [ ] c) Masters Degree [ ] 3 a) Indicate what your area(s) of specialization in fashion design. b) Indicate type of institution and country you received training in fashion design e.g. University in Kenya 4a) Indicate the number of years you have been teaching fashion design related courses? a) Less than 5 Years [ ] b) 6 – 10 Years [ ] c) 11-15 Years [ ] d) 16 - 20 Years [ ] e) More than 21 Years [ ] b) Besides teaching fashion design, indicate any other occupational activity you undertake? Part B: Usage of ‘Real’ Fabric Draping for Design 1a) Does the institution teach students „real‟ fabric draping for design? a) No [ ] b) Yes [ ] 2.a) Are you trained in „real‟ fabric draping for garment design? b) What constraints have you experienced as you teach „real‟ fabric draping for design?
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c) Does the institution feel the need to incorporate „real‟ fabric draping for design in the curriculum? 3 a) What is the source of the curriculum currently in use in the institution? b) Indicate any stake holders who are involved in developing the curriculum currently in use. 4 a) How often is the curriculum revised in the institution? b) Indicate reason for response above. 5) The following are fashion design practices utilized to produce garment designs. Indicate which ones you Use or Do Not use when teaching fashion design students.
Thank you for your co operation
FASHION DESIGN PRACTICES
USE
DO NOT USE
Sketch – Draping – Pattern –Toile – (Design alteration) – Pattern alteration - Sample garment
Draping – Pattern –Toile – (Design alteration) – Pattern alteration - Sample garment
Textile print on paper – Draping paper on body – (Sketch) - Pattern – Toile – (Design alteration) – Pattern alteration – Sample
Sketch – Pattern – Toile – (Design alteration) – Pattern alteration –Sample garment
Pattern – Toile – (Design alteration) – Pattern Alteration –Sample garment
Existing garment – Sketch – Pattern – Toile – (Design alteration) - Pattern alteration – Sample garment
Existing garment – Pattern – Toile – (Design alteration) – Pattern alteration - Sample garment
Conceptual idea – Pattern – Toile – (Design alteration) – Pattern alteration - Sample garment
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8.3. Appendix III; Study Questionnaire for Fashion Design Students
Name of Organization Date Part A: Basic Background 1. Indicate your gender/sex. a) Male [ ] b) Female [ ] 2 a) what type of course are you undertaking? a) Certificate [ ] b) Higher Diploma and Diploma [ ] c) Bachelors Degree [ ] d) Masters Degree [ ] b) Who/ what prompted you to choose this course? 3) Indicate any technical subjects studied at high school. Part B: Use of ‘Real’ Fabric Draping for Design 1. What pattern making technique are you taught in the institution? a) Flat pattern design [ ] b) „Real‟ fabric draping [ ] c) CAD for pattern making [ ] d) Freehand cutting [ ] (Pattern Development software) 2. What mode of teaching is used for real‟ fabric draping? a) As a core unit [ ] b)As an elective [ ] c) As a topic within a unit [ ] d) others (specify below) 3. What constraint(s) have you experienced as you are trained in „real‟ fabric draping for design?
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Part C: Availability of Learning Resources 1) The following are learning resources used by fashion design students when learning. Indicate whether they are Always (A), Frequently (F), Rarely (R), Sometimes (S) or Never (N) available to you.
LEARNING RESOURCES
A
F
R
S
N
Training personnel
Lecturers, teachers
Technicians/teaching assistants
Library assistants
Physical Infrastructure
Sewing rooms
Studios (Design and display)
Lecture hall
Textile lab
Materials
Different types of fabrics
Tailors chalk
Paper for patterns
Fashion design books
Draping manuals
Tracing wheel
Dressmakers carbon paper
Marking tape
Equipment and Tools
Draping Body forms
Sewing machines
Over lock Machines
Tailors Square/ Meter Ruler
Hip rulers /Vary form curve
French curves
Scissors (Cloth & Paper )
Dressmakers pins
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Part D: Conditions of Learning Resources (Physical Infrastructure) in Public Institutions of higher Learning 1) How is the condition of the lecture hall, studio, workshop or sewing room with regards to the following factors?
Excellent
Very Good Average Below Average
Poor
Lighting
Ventilation
Cleanliness
Furniture
Equipment & tools
Blackboards & flipchart
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Part E: Attitude towards ‘Real’ Fabric Draping for Design
1) The following statements concern attitude towards students training in „real‟ fabric draping for design. Indicate whether you strongly agree (SA), agree (A), not sure (NS), disagree (D) or strongly disagree (SD).
POSITIVE AND NEGATIVE STATEMENTS SD D NS A SA
„Real ‟fabric draping is a difficult method to learn.
I create patterns by „real‟ fabric draping within a short time.
I feel it‟s an excellent method to produce unique and intricate apparel.
I do not need learn „real‟ fabric draping as it can be self-taught.
As a fashion student I feel more creative when using „real‟ fabric draping.
I get real satisfaction when learning „real‟ fabric draping
I will get employment faster if I learning „real‟ fabric draping
‘Real‟ fabric draping is a technique for professional designers and not beginners.
I feel „real‟ fabric draping makes designing real for me.
I feel competent as design student when taking „real‟ fabric draping classes.
I enjoy learning my lessons during in „real‟ fabric draping lesson.
„Real‟ fabric draping should be learnt by women only.
I will get a better paying job if I learn „real‟ fabric draping.
I feel like a good fashion design student as I learn real fabric draping.
„Real‟ fabric draping is a course for academic failures
I do not have to put a lot of effort to learn „real‟ fabric draping.
It is a lesser design tool and does not need to be taught in institutions.
Thank you for your co operation
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8.4. Appendix IV; Semi Structured Interview Schedule for Fashion Designers
Name of Organization: Instructions: From the options given fill out or tick appropriately in the spaces provided for the questions asked to the respondent. 1. a). Which garment design technique(s) do you utilize to produce different garment categories or patterns in your organization? a) Flat pattern design [ ] b) Pattern drafting [ ] c) „Free‟ hand cutting [ ] d) Engineering [ ] e) Draping design [ ] b) If you use „real‟ draping for design, where did you receive training (Find out whether training was done in Kenya and type of institution i.e. college or at university)? 2. Which garment categories do you mostly design or construct using of „real‟ fabric draping for design (Indicate all categories given e.g. evening and wear)? 3 a) State the person who does most garment design jobs that require „real‟ fabric draping? b) What reason would you give for the answer stated above (2b)? 4. What constraints or challenges do you experience as you practice „real‟ fabric draping for design?
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5. Do you think „real‟ fabric draping for design should be taught to fashion design students (Probe to find out why YES or NO)? YES [ ] NO [ ] 6. Which skills in fashion design training curriculum would you like improved in institutions of higher learning? (Probe respondents to affirm the type of skills needed e.g. drawing and pattern drafting) Thanks you for your co operation
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8.5. Appendix V; Public Institutions of Higher Learning in Kenya offering
Fashion Design and Apparel Courses
NAME OF
INSTITUTION
TYPE OF
INSTITUTION
REGION COURSE OFFERED
Eldoret Polytechnic
Technical
Training college
Rift Valley Certificate in clothing
technology
Ol'lessos Technical
Training Institute
Technical
Training college
Rift Valley
Bumbe Technical
Training Institute
Technical
Training college
Rift Valley Fashion design and
garment making
Rift Valley Institute
of Science
Technology
Technical
Training college
Rift Valley Diploma in clothing
technology
Kenya Industrial
Training Institute
Technical
Training college
Rift Valley Clothing technology
Rift Valley Technical
Training Institute
Technical
Training college
Rift Valley Diploma in clothing
technology
National Youth Service
Training Institute
National
training institute
Rift Valley Diploma in textile design
University of Eldoret University
Rift Valley -Bachelor of science
Apparel and fashion
technology
-Bachelor of education
Home science and
technology
Egerton University University
Rift Valley Bachelor of science in
clothing, textiles and
interior design
Baraton University University
Rift Valley Bachelor of science
Fashion and textile design
Kenya Technical
Teachers College
National
Technical
Training college
Nairobi Diploma in technical
education
National Youth Service
Engineering Institute
National youth
training
polytechnic
Nairobi Diploma in clothing
technology
Technology
Development Centre
Training
institute
Nairobi Diploma in fashion design
Kenya Textile Training
Institute
National
Industrial
Nairobi Diploma in clothing
technology
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Training
Authority
Technical University of
Kenya
University
Nairobi Garment making and
fashion technology
Kenyatta University
University
Nairobi -Bachelor of science
Fashion design and
marketing
-Bachelor of Education
Home economics
Thika College for the
Blind
Training
institute
Nairobi Certificate in garment
making
Karen Technical
Training Institute for
the Deaf
Training
institute
Nairobi
Certificate in garment
making
Murang'a University
College
University Central Diploma in clothing
technology
Kirinyaga University
College
Technical
Training college
Central Diploma in fashion
technology
Nyeri Technical
Training Institute
Technical
Training college
Central Diploma in clothing
technology
Kimathi University University Central Diploma in clothing
technology
Nyeri Technical
Traininig Institute
Technical
Training college
Central Diploma in clothing
technology
Mathenge Technical
Training Institute
Training
institute
Central Diploma in clothing
technology
N‟kabune Technical
Training Institute
Technical
Training college
Eastern Diploma in clothing
technology
Wote Technical
Training Institute
University Eastern Diploma in clothing
technology
Rwika Institute of
Technology
Technical
Training college
Eastern Diploma in clothing
technology
Machakos University
College
University Eastern -Bachelor of Education
Home economics
-Diploma in clothing
technology
Meru Technical
Training Institute
Technical
Training college
Eastern Diploma in clothing
technology
South Eastern
University College
(SEUCO)
Technical
Training college
Eastern Certificate in clothing
technology
Gusii Institute of
Technology
Technical
Training college
Nyanza Diploma in clothing and
textile
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Source: Survey Census (Researcher, July 2011)
Ramogi Institute of
Advanced
Technology
Technical
Training college
Nyanza Diploma in clothing
technology
Moi Institute of
Technology
Technical
Training college
Nyanza Diploma in clothing
technology
Keroka Technical
Training Institute
Technical
Training college
Nyanza Diploma in clothing
technology
Siaya Institute of
Technology
Training
institute
Nyanza Clothing technology
Kisumu Polytechnic Training
institute
Nyanza Diploma in clothing
technology
Maseno University University
Nyanza -Bachelor of arts in
textile, apparel Design &
fashion merchandising
Shamberere Technical
Training Institute
Technical
Training college
Western
Clothing technology
Diploma in textile design
Sangalo Institute of
Science
and Technology
Training
institute
Western - Clothing technology
- Fashion design and
garment making
Friends College
Kaimosi
Technical
Training college
Western Fashion design and
garment making
Machakos Technical
Training Institute
Technical
Training college
Coast Diploma in clothing
technology
Mombasa Technical
Training Institute
Technical
Training college
Coast Diploma in clothing
technology
North Eastern Province
Technical Training
Institute.
Training
institute
North
Eastern
Certificate in garment
making
110
8.6. Appendix VI; Sample Size, Confidence Level and Confidence Intervals for
Random Samples
Source: Cohen L., Manion L. & Morrison K. (2007). Pg. 104.
Population
Confidence Level 90 Percent
Confidence Level 95 Percent
Confidence Level 99 Percent
Confidence Interval
Confidence Interval
Confidence Interval
1 2 3 1 2 3 1 2 3 30 50 75 100 120 150 200 250 300 350 400 450 500 600 650 700 800 900 1,000 1,100 1,200 1,300 1,400 1,500 2,000 2,500 5,000 7,500
27 42 59 73 83 97 115 130 143 153 162 170 176 187 192 196 203 209 214 218 222 225 228 230 240 246 258 263
28 45 64 81 94 111 136 157 176 192 206 219 230 249 257 265 278 289 298 307 314 321 326 331 351 364 392 403
29 47 68 88 104 125 158 188 215 239 262 282 301 335 350 364 389 411 431 448 464 478 491 503 549 581 657 687
28 44 63 79 91 108 132 151 168 183 196 207 217 234 241 248 260 269 278 285 291 297 301 306 322 333 357 365
29 46 67 86 100 120 150 176 200 221 240 257 273 300 312 323 343 360 375 388 400 411 420 429 462 484 536 556
29 48 70 91 108 132 168 203 234 264 291 317 340 384 404 423 457 468 516 542 565 586 606 624 696 749 879 934
29 46 67 87 102 122 154 182 207 229 250 268 285 315 328 341 363 382 399 414 427 439 450 460 498 524 586 610
29 48 70 91 108 131 168 201 233 262 289 314 337 380 400 418 452 482 509 534 556 577 596 613 683 733 859 911
30 49 72 95 113 139 180 220 258 294 329 362 393 453 481 507 558 605 648 689 727 762 796 827 959 1,061 1,347 1,480
111
8.7. Appendix VII; Random Numbers
Source: Gupta SP. (2004). Pg. 1425.
58941 02349 89210 11826 69810 81060 56135 57361 24548 66504 45068 99717 05394 38155 04319 18134 32012 78101 23469 35342 65846 22184 83668 90083 97765 49988 78257 30946 19468 30806 42163 39249 88717 16767 77516
72711 71389 44546 91326 17100 33449 80647 65304 56415 02036 05520 01542 61840 42661 04318 90062 42710 44392 42846 56119 18076 33998 66236 70696 27552 13176 86249 22210 76358 80857 68332 51463 29289 57345 96648
39408 45608 27174 29664 35066 68055 51404 93258 61927 02922 56321 72990 83089 02363 99387 10761 34650 53767 94810 97190 12415 87436 79665 13558 49617 94219 46134 79302 69203 84383 98851 95963 77360 42285 51868
91620 60947 27499 01603 00815 83844 06626 56760 64416 63569 22693 43413 09224 67625 86874 54548 73236 15220 16151 43635 30193 37430 88312 98995 51734 88698 51865 40300 02760 78450 50252 07929 09030 56670 48140
27963 60775 53523 23156 01552 90942 10042 63348 29934 17906 35089 59744 78530 34683 12549 49505 66167 66319 08029 84249 42777 45246 93047 58159 20819 41755 09836 08852 28625 26245 56911 66728 39605 88445 13583
96478 73181 63110 89223 06392 74857 93629 24949 00755 38076 07694 44595 33996 95372 38369 52685 21788 72953 50554 61254 85611 11400 12088 04700 70198 56216 73966 27528 70476 91763 62693 47761 87507 85799 94911
21559 43264 57106 43429 31437 52418 37609 11839 09418 32135 04252 71326 49965 74733 54952 63903 03581 14071 03891 80993 57635 20986 86937 90443 67906 66832 65711 84648 76410 73117 73817 81472 85446 76200 13318
19246 56895 20865 95353 70385 68723 57215 29793 14230 19096 23791 91382 04851 63558 91579 13193 40699 59148 38313 55431 51362 43996 70794 13168 00880 17748 41699 79589 32988 33047 98693 44806 51257 21795 64741
88097 04232 91683 44662 45863 47830 08409 37457 62887 96970 60249 45114 18280 09665 26023 33905 10396 95154 34016 90793 79907 73112 01041 31553 82899 04963 11732 95295 10194 03577 18728 15592 89555 38894 64336
44026 59604 80688 59433 75971 63010 81906 59377 92683 75917 83010 20245 14039 22610 81076 66936 81827 72852 18671 62603 77364 88474 74867 67891 66065 54859 17173 72895 94917 62599 94741 71357 75520 58070 95103
112
8.8. Appendix VIII; Table on Accessible Population
K
enyatt
a U
niv
ersi
ty
Tec
hn
ical
Un
iver
sity
of
Ken
ya
Ken
ya T
ech
nic
al
Tea
cher
s C
oll
ege
Ken
ya T
exti
le T
rain
ing In
stit
ute
Nair
ob
i T
ech
nic
al
Tra
inin
g I
nst
itu
te
Tota
l
Heads of departments 1 1 1 1 1 5
Teachers or Lectures 10 06 04 07 05
Total 11 7 5 8 6 37
Certificate (year 2) - - - 25 04 27
Diploma (year 2) - 12 50 17 03 86
Diploma (year 3) - 17 15 13 36
Degree (year 2) 40 - - - - 40
Degree (year 3) 38 - - - - 38
Degree (year 4) 25 - - - - 25
Masters (year 1) 2 - - - - 2
Masters (year 2) 5 - - - - 5
Total number of students
110 29 50 57 20 266
Fashion designers
30
113
8.9. Appendix IX; Table on Sample Size Selection
Ken
yatt
a U
niv
ersi
ty
Tec
hn
ical
Un
iver
sity
of
Ken
ya
Ken
ya T
ech
nic
al
Tea
cher
s C
oll
ege
Ken
ya T
exti
le T
rain
ing In
stit
ute
Nair
ob
i T
ech
nic
al
Tra
inin
g I
nst
itu
te
Tota
l
Head of departments
1 1 1 1 1 5
Teachers or Lectures
10 06 04 07 05
Total 11 7 5 8 6 37
Certificate (year 2) - - - 25 04 27
Diploma (year 2) - 12 48 17 03 86
Diploma (year 3) - 17 15 13 36
Degree (year 2) 29 - - - - 40
Degree (year 3) 29 - - - - 38
Degree (year 4) 25 - - - - 25
Masters (year 1) 2 - - - - 2
Masters (year 2) 5 - - - - 5
Total number of students
90 29 48 57 20 244
Fashion designers
30
114
8.10. Appendix X; Fashion Design Practices Used by Fashion Designers
Source: Rissanen,T. (2007). Pg. 3-6.
1.Sketch – Draping – Pattern –Toile – (Design alteration) – Pattern alteration - Sample garment
2. Draping – Pattern –Toile – (Design alteration) – Pattern alteration - Sample garment
3. Textile print on paper – Draping paper on body – (Sketch) - Pattern – Toile – (Design alteration) – Pattern alteration – Sample.
4. Sketch – Pattern – Toile – (Design alteration) – Pattern alteration –Sample garment
5. Pattern – Toile – (Design alteration) – Pattern Alteration –Sample garment
6. Existing garment – Sketch – Pattern – Toile – (Design alteration) - Pattern alteration – Sample garment
7. Existing garment – Pattern – Toile – (Design alteration) – Pattern alteration - Sample garment
Conceptual idea – Pattern – Toile – (Design alteration) – Pattern alteration - Sample garment
115
8.11. Appendix XI; Composite Results on Conditions of Infrastructure
8.12. Appendix XII; Composite Results on Learning Resources
Status of learning conditions Frequency Percentage
Poor condition 69 31.7
Excellent condition 149 68.3
Total 218 100.0
Availability of learning resources Frequency Percentage
Not available 6 22.2
Available 21 77.8
Total 27 100.0
116
8.13. Appendix XIII; Map of Public Institutions of Higher Learning included in
the Study
117
8.14. Appendix XIV; Research Permit from National Council for Science
Technology and Innovation